LB 3621 
.04 
1923 
Copy 1 



.1 















V 




























































































































































































































BUILDING A 
COLLEGE ANNUAL 


Compiled for 

Art Crafts Guild, Inc. 

R. H. Nason, Gen. Mgr. 
by 

JOSEPH ALMARS 

n 


Published by 

ART CRAFTS GUILD 

(incorporated) 

CHICAGO 



Copyright 1923 by the 

ART CRAFTS GUILD, Inc. 

R. H. Nason, Gen. Mgh. 
CHICAGO, ILL. 



©GI.A69 67 89 

MR 


'"V*. 0 j 



TABLE OF CONTENTS 




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<1 


C^O 

CHAPTER I 

The Editor and His Work. 

Foreword—The Business Department—The Editorial Department—Editorial and 
Business Department Hand in Hand—Brains and Money, One Worthless Without the 
Other— Departmental Work —Organization of Staff—Making up Estimates and 
Budgets—Making up Dummies—Compiling Text Matter—Editing Text Matter- 
Supervising Photography—Art Work—Engraving—Shipping Copy—Checking, Print¬ 
ing and Binding—Staff Meetings—Reports to Class—Outline of Procedure—Use 
Business Methods—Time is Everything—Start Early Bulletins—Reasonable Time for 
Engraver and Printer—A Few General Suggestions—An Education Worth Thousands. 


5 


CHAPTER II 

Organization. 

Correct Placement of Staff—Personnel of College Annual Staff— Business Depart¬ 
ment —The Business Manager, His Staff and Duties—Assistants—Manager’s Duties— 
Duties of Assistants —Advertising Manager—Circulation Manager—Accountant— 
Editorial Department— Make up of Editorial Department—Duties of Each—The 
Editor-in-Chief—The Assistant or Associate Editor—The Alumni Editor—The Literary 
Editor The Art Editor Music and Dramatic Editor—The Athletic Editor—Humor 
or Joke Editor Society Editor—Calendar Editor—Snap Shot Editor—Representatives 
of Other Classes—Faculty Advisor— Meetings of the Staff — Work in Harmony 
with the Faculty—Be Businesslike— Making Reports —Getting An Early Start 
—Margin of Safety in Time. 


CHAPTER III 

Planning the Book. 

Making up the Budget—Margin of Safety or Reserve Fund— Making Estimates 
Budget—Selling Price of Annual—Apportioning Expenditures—Preventing 
Excessive Costs —What the Planning Involves—Dimensions of Book—Number of 
Pages—Embossing and Stamping—Printing and Embossing Cover—Paper Stock— 
Binding—Divisions of Book—Ex Libris or Book Plate—Numbering Pages—Sub 
Title—Title Page—Dedication—Order of Books or Contents—Staff—Foreword—View 
Section—Faculty Section—Senior Section—Junior, Sophomore and Freshmen Section— 
Athletics—Organizations—Publication Section—Beauty Section—Calendar Sections— 
Snap Shot Section—Farce & Jokes—Department Headings—Style of Type—Art 
Work—Photography—Engravings—Color. 


CHAPTER IV 

Drawing Specifications—Awarding Contracts—Preparing Dummies. 39 

A Summary of Items for Printing Specifications-rrrA warding Your Contracts— 
Place Your Contracts Early—Engraving Contract—The Printing Contract—Pur¬ 
chasing Your Own Paper Stock—The Binding Contract—A Lump Publishing Con¬ 
tract—See That Your Contracts are Binding—Preparing the Dummies—How to Make 
Up—Styles of Pages—Inserts—Border and Head and Tail Pieces—Estimating Space 
Required—Oversize Engravings—Page Headings—Editing Dummy—The Dummy in 
the Bindery—Postage—Advertising Dummy. 


3 






CHAPTER V 


Presswork—Ink—Printer’s Terms. 

Presswork—Printing Ink—Slip Sheeting—Printer’s Terms. 


CHAPTER VI 

Choosing Style of Type—Compiling Text—Editing and Proof Reading. 

Choosing Style of Type —Type Sizes—Type Faces—Position of Printed Page— 
Compiling Text —Estimating Space Required— Editing and Proof Reading —Proof 
Reader’s Marks—Markings for Special Type— Printer’s Copy —Legibility—How to 
Prepare—Editing—Numbering Sheets—How the Printer Handles Copy—The Final 
Page Proofs—Imperfect Advance Book—Proof Reading—High Cost of Changes in 
Proofs—Proofs—How Submitted—Return of Proofs. 


CHAPTER VII 

Art Work—Grouping—Cartoons, etc. 

The Art Editor—Early Start—Importance of—Planning the Art Work—Make Your 
Artists Follow Your Plan—Artist’s Materials—Sample Drawings—Pen Drawings for 
Zinc Etchings—Shading—Pen Drawings for Color Work—Pencil and Charcoal Draw¬ 
ings— Wash Drawings—Combination Drawing and Photograph—Panel Designs— 
Grouping—Advantages of—Groups of Portraits Made by Engraver—Grouping Por¬ 
traits by the Art Editor—Groups of Snaps Made by Engraver-Groups of Snaps Made 
by your Art Staff—Groups, How to Get Proportions Correct—Reducing Pictures in 
Proportion—First Method—Second Method—Trimming Pictures—Art Sections— 
Border-Running Head or Page Heading—A Few Helps and Hints on Cartoons— 
Retouching—Reversing a Plate—Some Dont’s—Other Things to Know. 

CHAPTER VIII 

Your Photographs. 

The Photograph or Snap Shot Editor—Consulation with Editor—Consult Engraver 
Early—Selecting your Photographer—Get An Early Start—Picture Day—Margin of 
Safety—Making Portraits—Suggestions To Your Photographer—Size and Shape of 
Portraits—Background for Pictures—Style of Prints—Plenty of Snaps—Trimming 
Pictures—Groups and Panels—Uniform Reduction—Sending Copy to the Engraver. 


CHAPTER IX 

Engraving. 

Editor’s Note— Zinc Etching —The Principle of Etching—The Process—Reversing 
Colors—Combination Plates— Halftones —Time of Origin—The Halftone Screen— 
The Process—Outlining and Finishing—Style of Finish—Mounting Plates—The Metzo- 
graph The Prism— Color Plates —Line Color Plates—The Shading Machine or 
“Ben Day Machine”—Halftone Color Plates—Two Color Process Halftones or Duo- 
Tones Three. Color Process Halftones—Four Color Process Halftones—Progressive 
Proofs Printing Halftone Color Plates—Electrotypes—The Harmony of Colors— 
Engraving Terms. 


CHAPTER X 

Shipping Copy. 

Record of Copy Marking Copy—Methods of Forwarding Copy—Packing Copy— 
Acknowledging Receipt of Copy—Time Required for Delivery—Proofs—Shipping Com¬ 
pleted Work—Correspondence and Shipping Copy. 








CHAPTER I 

THE EDITOR AND HIS WORK 


You have been chosen to edit your school 
Annual. Your selection is at once testimonial 
and a challenge to your ability. Do not make 
the grievous error of considering the commis¬ 
sion as merely a personal honor, but rather 
look upon it as an opportunity to render a 
real service to your class and your school. 

Naturally you are ambitious to put out 
the best Annual ever published by your school. 
That ambition is truly laudable and there is 
nothing to prevent you from realizing it pro¬ 
viding you are willing to put forth the neces¬ 
sary effort. You will find there will be more 
work than honor, and at times more criticism 
than applause. There will be times when you 
will be discouraged and will feel like quitting 
the ship. Of course you won’t—you wouldn’t 
have been made editor if you had been a 
quitter—but will go ahead and finish the 
task they have set before you, and in so doing 
will reflect credit upon your class, your school 
and yourself. 

The biggest share of the work will be up 
to you. Even after you have planned the book 
from cover to cover you will find that your 
job has just commenced. All copy handed 
in will have to be edited and much of it will 
have to be rewritten. Remember that the 
editor will be held strictly accountable for 
everything that goes in his publication, so 
do not entrust this important work to an 
assistant. Your readers will readily give you 
full credit for a good book and they will just 
as readily hold you responsible for a poorly 
written or poorly arranged book. 

The information and suggestions given in 
the following pages are based upon twenty- 
two year’s experience in the Photo-Engraving 
business. 

In counseling with Editors and Business 
Managers from year to year it soon became 
apparent that the advice sought and the 
questions asked, as well as the mistakes made, 
usually covered the same subjects. Conse¬ 
quently it was possible to anticipate the prob¬ 
lems of staff officials to such a degree that 
proper counsel beforehand usually assured 
better results. 

A record of the suggestions made, properly 
arranged and indexed, is offered herein. 


Careful reading and observation will aid 
you in recognizing many of the necessary 
precautions it is well to take, and will give you 
a working idea of the principle governing the 
making of a well-illustrated, attractive class 
annual. 

In another book entitled “College Annual 
Business Management” we discuss the busi¬ 
ness side of the problem. While you, as 
Editor-in-Chief, must be conversant with both 
the editing or production of your book and 
the financial problems, this work will be given 
to the former. It may be necessary at times 
to repeat certain statements made in the book 
on management. This will be done when 
it will aid in making more understandable the 
work of the Editor. 

Read the book on Business Management 
carefully. Study it so that you can enter 
into the financial and business problems with 
a full understanding of what they involve. 

Getting out an Annual may be likened to 
any other publishing business in that it is 
divided broadly into production and sales. 
Staff members will give their time and at¬ 
tention to one or the other, helping out, of 
course, on either hand when occasion demands. 
There should, however, be more or less of 
a cleavage between the departments so as to 
eliminate unnecessary duplication of effort. 

You, as Editor, are the chief officer of the 
business. Your ablest assistant is the Busi¬ 
ness Manager, who oversees the financing of 
the book. While he is responsible to you as 
Editor-in-Chief and while you necessarily, 
therefore, must understand and be in touch 
with his work, you will also oversee the pro¬ 
duction. This will involve such an amount 
of detail work and throws so much of the 
responsibility of financing the Annual on the 
Business Manager that he must be considered 
as an Associate Manager rather than an as¬ 
sistant. 


The Business Department 

The Business Manager’s work consists of 

1. Financing or Getting Funds 

2. Making up Estimates and Budget 


5 



6 


Building a College Annual 


3. Working out Plans for the Book with 

Editor 

4. Making Plans for Selling Books 

(which includes advertising) 

5. Making Contracts 

6. Distributing the Books 

7. Collecting the Money 

8. Banking, Accounting and Rendering 

Financial Statements. 


The Editorial Department 

As Editor-in-Chief you must have a finger 
in the pie in all the foregoing and in addition 
must oversee the work of production which 
falls roughly into the following subdivisions. 

1. Planning the Book 

2. Making up Estimates and Budget 

3. Making of Dummies 

4. Making Contracts 

5. Compiling Text Matter 

6. Editing Text Matter submitted 

7. Supervising Photography 

8. Supervising Art Work 

9. Supervising Engraving 

10. Shipping copy to Engravers and 

Printers 

11. Checking Printing and Binding 

12. Calling of Frequent Staff Meetings 

13. Reports to Class 

From the foregoing divisions of work be¬ 
tween you and the Business Manager you 
will see that as regards most of the details 
there is a sharp cleavage. You should, there¬ 
fore, trust to your Business Manager to handle 
his parts of the work to the fullest extent 
possible, always however, being in close enough 
touch with him and his work to be able to 
advise and suggest changes or remedies in 
case they are needed. 


Editorial and Business Departments Hand 
in Hand 

Needless to state, the two departments must 
work hand in hand and you as Editor-in-Chief 
must see that they do. There must be the 
closest co-operation in this as well as any other 
business undertaking between the production 
and business departments. Only through such 
co-operation can the fullest measure of success 
be attained. 


I know of many an excellent idea given the 
production department of a business by the 
sales or business department. And I also 
know of many an excellent business scheme 
or sales argument advanced by the producers. 
As a matter of fact the salesman should know 
the product he sells from A to Izzard if he is 
to sell it efficiently. The more he knows the 
better. To solicit advertising, both local and 
foreign, to successfully solicit subscriptions, 
etc., etc. he must be conversant with the inter¬ 
esting features of the Annual. They make 
part of his sales talk. 

On the other hand, the staff members who 
are compiling and editing must understand 
what the business department is up against, 
realize financial limitations, and be willing 
to work accordingly. Satisfying a Pierce- 
Arrow taste with a Ford pocket book can mean 
only one thing,—somebody else has got to 
foot the bill. Don’t let it happen. 


Brains and Money,—One Worthless With¬ 
out the Other 

Both departments must exercise their brains, 
the Editorial in its capacity and the Business 
in its, but never forget for a minute that you 
can’t get very far in this little old world with¬ 
out money. A home, built and lost by the 
owner on account of lack of funds to hold 
it reflects discredit on him, no matter how 
beautifully designed. 

Need of departmental co-operation is con¬ 
sidered so important by business executives 
nowadays, that they have frequent executive 
meetings in order that each Department 
Manager may understand the problems of 
the others. Only in this way can each one 
intelligently guide his own actions. 

See that your departments co-operate. 


DEPARTMENTAL WORK 

In this chapter, let us take a broad look 
over the field of your work, discussing briefly 
its various phases as set forth previously. 
Each phase will be dealt with later in detail, 
but a general bird’s eye view of the situation 
now will help you see more clearly the job 
as a whole. 








The Editor and His Work 


7 


Organization of Staff 

Selection of staff members should be made 
early and with a view toward the fitness of 
the member chosen for the duties he or she 
is to perform. Make the staff large enough 
to handle the work easily, but hold it down 
so it doesn’t become cumbersome to handle. 
Try to avoid duplication of effort among 
staff members. Impress upon each member 
his responsibility and hold him to it. 


Making up Estimates and Budgets 

This had better be done between the Editor- 
in-Chief and the Business Manager. Too 
many cooks may spoil the soup in this under¬ 
taking. Be guided, both of you, by the extent 
of your purse. Better have a little money 
left over than “go in the hole.” 


Making Up Dummies 

Dummies are Dummy Books, or in other 
words, a sketched facsimile of what the com¬ 
pleted work is to be like. It serves four pur¬ 
poses. (i) Gives the staff an idea of what 
the ultimate goal of their efforts will look 
like; (2) Serves as a guide for the sub-editors; 

(3) Gives the printer a guide to go by and 

(4) It serves as a reference or standard from 
which to determine how alterations of one 
part of the book will affect other parts. 

The dummies should be gotten up by the 
Editor, his Associate Editors and the Business 
Manager after estimates and budget have 
been made up. 


Compiling Text Matter 

The text matter must, of course, be drawn 
from all quarters. Keep an ear to the ground 
at all times and see that your staff members, 
both editorial and business, do likewise. 

Black looks blacker when its placed against 
yellow than when against black and vice 
versa. So will humor seem more humorous 
when there’s a good balance of seriousness. 
Our meals must be balanced. We would 
tire of heavy food alone at all times. We 
relish our dessert also. But we wouldn’t 
relish it near so much if we had to eat it all 
the time. So with the Annual. Try to strike 
a good balance between humor and seriousness. 


Editing of Text Matter 

Go over everything in detail. Be careful 
of what gets into the book. What gets into 
one copy gets into all of them. Better be 
safe than sorry. If ever in doubt take your 
copy to the Faculty Advisor and be guided 
by his opinion. 

Printers’ marks for editing will be explained 
and illustrated in the proper place in this book. 


Supervising Photography 

Some humor—some seriousness, here also. 
See that you get good clear pictures. The 
snap shot editor should be a camera fiend. 
Gather others from all sources possible. Have 
your pictures on time. 


Art Work 

Possibly yours is not an artistic soul. If 
not, then rely on the judgment 'of your art 
editor. To him necessarily must fall the 
responsibility of the dress of the Annual. 
Pay careful attention to the advice given by 
the engraver as regards art work. Bear in 
mind that he has seen hundreds of Annuals 
and has had ample opportunity of studying 
your art problem long before you took hold 
and further, that he is in touch with art not 
only from the standpoint of Annuals, but 
from that of the business world as well. If 
he is a good engraver, he has had a liberal 
education along the art line. Avail yourself of 
his service. Use plenty of pictures in your 
book. Everyone likes pictures. The picture 
language is universal and older than the written 
word. 


Engraving 

Engravings should, of course, be of the best. 
Be sure that the engraver you decide upon 
can deliver the best. Delivery on time is 
also a vital factor. The printer can do no 
printing until your plates are delivered. 


Shipping Copy 

A definite system should be put in force 
and followed. Details will be given later. 




8 


Building a College Annual 


Checking, Printing and Binding 

Co-operate closely with your printer. Proofs 
should be submitted as the work progresses. 
If you choose a local printer, visit his plant 
every so often to check up on the progress 
and quality. 


Staff Meetings 

These should be held often and, of course, 
its the duty of the Editor to call them. They 
should be held once a week at least and you 
should insist on regular attendance by staff 
members. 


Reports to Class 

Reports should be rendered at intervals to 
inform the class of progress and points of 
interest. 

As before stated all these various phases 
of your work will be dealt with in detail in 
the succeeding chapters but this summary 
will give you a general idea of the proportions 
and nature of the job ahead. 

We think well to include here the outline 
of procedure given in the book on Business 
Management. This gives an excellent idea 
as to when various parts of the work should 
be started. 


Outline of Procedure 

The following outline will indicate approxi¬ 
mately the times of the year when the various 
parts of the work should be handled. 
Preceding Spring 

1. Preliminary Estimating 

2. Book Planning 

3. Contracts 

(a) Engraving 

(b) Printing 

(c) Photography 

(d) Specials 

Preceding Summer 

4. Planning a Campaign for Advertising 

5. Developing Plans for Book Sale 

6. Developing Administrative Plans 

(a) Accounts 

(b) Purchase of Supplies 

(c) Filing Systems 

(d) Planning of Letterhead 


Fall 

7. Selection of Staff 

8. Advance Book Sale 

9. Collection of Senior Insert Fees 

Collection of Organization Accounts 

10. Binding Contract 

11. Advertising Campaign 

Winter—Spring 

12. Second Advance Book Sale 

13. Closing up of Delinquent Organization 

Accounts 

Advance collections of Advertising 

14. Distribution 

15. Final Report 


Use Business Methods 

Right from the start you should adopt up- 
to-date business methods in handling your 
staff and work. 

Provision should be made for correspond¬ 
ence, a typewriter purchased or rented, if 
not owned, a supply of stationery, carbon 
sheets and copy paper, files for bills, letters 
received and copies of letters sent. 

Correspondence with each firm should be 
filed in order of consecutive dates, each letter 
received followed by the carbon copy of the 
reply, so that when all is ended each letter 
and each reply will be found systematically 
filed in regular sequence. 

A daily card calendar should be used for 
memoranda with items for future attention 
carefully tabulated to turn up for action on 
the proper date. If a separate card be used 
for each item (and this system is by all means 
the best) it can be filed ahead from date to 
date, with new entries thereon, if impossible 
to attend to the matter on the first date, and 
thus the item will not be lost sight of. 

Promises of photographer, engraver, printer 
and advertisers should be tabulated separately 
in this manner. No human brain can keep 
all such items in order without some such as¬ 
sistance. There is nothing in all the accounting 
and filing system quite so practical or so pro¬ 
ductive of good results, as the little daily 
calendar card box. It means saving of time 
and time is everything. Of course it is worse 
than useless if not kept strictly up to date 
and looked into every day. 

These are general suggestions only. 

Illustrations of record forms for advertising, 
subscriptions, accounting, etc., are shown in 
the Business Manager’s course. 





The Editor and His Work 


9 


What we wish to here impress upon you is 
the necessity, to say nothing of the fine train¬ 
ing, of putting system into your organization 
at once and keeping it up. 

As a matter of fact it is easier to keep 
business records accurately and up to date, 
with a “place for everything, and everything 
in its place”, than to allow correspondence, 
bills and memoranda to pile up on a desk 
where they are soon covered with dust, or 
blown on the floor, or to be thrown hap¬ 
hazard into a drawer or box. By having every¬ 
thing so filed that you can pick up any certain 
letter, contract or bill in an instant, much 
time will actually be saved, to say nothing 
of the satisfaction which attaches to having 
a real system. 

From the very first, make it plain to your 
Assistants that you demand their full co¬ 
operation and attention to their jobs. Make 
it clear that you don’t intend to stand for 
delay, procrastination, temporizing nor ex¬ 
cuses. You can do this in a way which will 
hurt no ones feelings and still put your mes¬ 
sage across. Put it up to them. Tell them 
that you’ve chosen them because you felt 
they were the best men for the place and that 
in all probability you would not need to 
caution them about lack of co-operation, but 
stating also that you’ve all got to pull together 
for some time and that its just as well to come 
to a definite understanding at once. 


Time is Everything 

Of course the Editor often has to wait on 
the action of a Business Board or Business 
Manager, but usually the Editor can secure 
early action by being insistent. You will 
do a good day’s work if you spend one whole 
day convincing your Business Board that 
you must have quick action on your engraving 
contract. The Board should be glad to co¬ 
operate because the financial success of the An¬ 
nual depends largely on how early it comes 
off the press. 

The Business Manager should bear in mind 
that the earlier the book is completed, the 
easier and the more successful will be his 
work. After the book is completed, there is 
sometimes delay in its delivery and there may 
be some delay in placing the book on sale. 
To collect all the subscriptions and to make 
all the sales will be found a big task. 


The Advertising Manager must spend almost 
as much time in collecting as he did in securing 
the advertising contracts. Many letters must 
be written, and while many advertisers pay 
promptly, there will be a few that you will 
have to keep after for weeks, especially those 
at a distance. 

If the book is completed many weeks before 
commencement, this work can be attended 
to easily and systematically. On the other 
hand when the book is delivered late, with 
only a week or two to spare, all is confusion. 
Many students leave before commencement 
time. Money is not plentiful with most of 
them and commencement expenses are heavy. 
A book delivered six weeks before commence¬ 
ment will find a much readier sale than a 
late book. The Editor can better afford to 
omit the record of late baseball games and 
other late events than to include them at 
the expense of belated delivery, thus causing 
the Business Manager untold trouble and 
worry. 


Start Early Bulletins 

The Manager and Editor-in-Chief should 
post bulletin notices to the effect that all 
photographs of Seniors, Juniors, etc. must 
be delivered to the Photograph Editor on or 
before a certain date, and stating that under 
no circumstances will any photographs be 
accepted after that date. The “dead line” 
should be set from two to three weeks ahead 
of the date at which the Editor-in-Chief ex¬ 
pects to have his copy completed. A month 
is none too long in which to compile the 
various literary and illustrated portions of the 
book after the copy has been turned in to the 
Editor. Even when copy is in the hands of 
the Editor-in-Chief, he has a tremendous 
amount of work ahead. He should carefully 
edit every line of the copy and prepare a 
systematic and intelligible dummy to be used 
by the printer. 


Reasonable Time For Engraver and 
Printer 

No engraver or printer can do his best in 
a hurry. Every handsome Annual is proof 
that the work has been given due time in 
the engraving department, composing room, 
press room and bindery. A poorly printed 




IO 


Building a College Annual 


or poorly bound book indicates usually, that 
the printer has not been given enough time 
to do his work well; or, if he had sufficient 
time, that he was not competent. The only 
assurance that a book will be first-class in 
composition, press work and binding will be 
found in the early delivery to the engraver 
of all photographic copy and to the printer 
of all manuscript copy. Many large printers 
give as their reasons for declining College 
Annual business that late copy makes them 
unprofitable and unpleasant. It is safe to 
state that not one book in twenty is turned 
over to the engraver and printer within the 
time specified in the contract. 

Nine out of ten Business Managers have 
the old time-worn excuses for a late book: 
“The photographer was busy on his Christ¬ 
mas work.” “Some of the Seniors and Faculty 
wouldn’t get their photographs on time,” 
etc. Some Annuals come out on time and 
yield handsome financial returns, due solely 
to proper organization and a system that is 
kept working from the start. 

The book can rarely be a success financially 
if late. It surely will not be a success if the 
Advertising Manager and Subscription Man¬ 
ager fail to do their work very early in the 
fall before publication. 

A Few General Suggestions 

Let us quote here from W. F. Kinsey, A.B., 
Boston Seminary, Boston, Mass. He says: 

“The first requisite to successfully edit a 
College Annual is persistent and continuous 
application. How often have classes been 
disappointed in their year-book when they 
have selected the man who seemed in every 
way best qualified for the position! He failed 
because he lacked the essential quality of 
perseverance. It is not enough, then, to 
depend upon your native ability. Look ahead 
into the future and see your book a year hence. 
The successful Editor goes home for his summer 
vacation with his mind centered upon the 
one theme, “How can I put out the best 
Annual in the history of our School?” 

“With this end constantly before him he 
will have in his mind’s eye a mental view of 
what that book shall be. But this will not 
be until he has made a careful study of literally 
hundreds of annuals from other schools and 
editors. It is commonly agreed by psy¬ 
chologists that the power of suggestion is one 
of the greatest factors in education of the 


present day. How truly this applies to the 
editor of an Annual. Have originality. But 
what other is originality than the suggestions 
that come from a careful study of the workings 
of men’s minds? Those men who figure most 
highly before the world today and who are 
looked to as great examples of originality 
are those men who having read most widely 
have absorbed what they have read, working 
it over until it has become their own thought. 
A successful editor must use the same methods. 
Never grow discouraged and think that origin¬ 
ality is native ability. Any man may have 
originality who is willing to pay the price. 
As you read mark what is specially striking 
and interesting to you, go back to it again 
and again and think hard. You will be sur¬ 
prised at the entirely new and original plans 
and thoughts that will come to you through 
these suggestions, and yet so impossible, were 
you to sit down and try to think them out 
without carefully studying the works of other 
men’s minds. In summing up this para¬ 
graph, I would say that success depends upon 
originality. Originality comes only from the 
power of suggestion gained through constant 
and persistent endeavor. 

“Have a definite plan or scheme for the 
entire book and as far as possible^turn every¬ 
thing to meet that end. Explain to your 1 
associate editors just what that scheme is 
and have them bend their efforts in the same 
direction. Hold a staff meeting once a week 
and see that each editor is faithfully keeping 
up his department. At these meetings draw 
out all you can from the other members and 
profit by their suggestions. Make them feel 
the responsibility of their respective depart¬ 
ments and that the success of the book de¬ 
pends upon their co-operation. A successful 
editor will not try to do all the work himself. 
He will spur on the others and keep up a lively 
enthusiasm. Thus, he may devote his time 
to arranging the material and planning the 
book in general. 

“If you want a book that will sell and at 
the same time be popular use every student 
in school in as conspicuous a manner as pos¬ 
sible. This may be done in many different 
ways. Snapshots of groups of students that 
you would find it hard to work in otherwise 
will often serve the purpose. A page of these 
can often be filled in advantageously. It 
will please these students, they will feel kindly 
toward the book and you will be surprised 
how many copies it will sell. 




The Editor and His Work 


11 


“The Annual stands as a monument to 
the editor and the members of the class. 
It is true that most annuals are soon in a 
large measure forgotten by all but the members 
of the class, but there is an occasional one 
\ that stands out apart from the others. Let 
yours be one of these. 

“Do not knock! For in so doing you are 
destroying the popularity of your book and 
are reflecting upon your school. This is not 
a place to get even. You are representing 
the class and more largely the school, not 
your own likes or dislikes. That does not 
mean that it shall be lacking in wit and humor, 
nor that you can spring no puns. Every 
one enjoys a good joke even though he is the 
one upon whom the laugh has been turned. 
But there is a vast di fference b etween a joke 
and a slam that is meant to sting. In reality, 
the editor who does this admits his own narrow¬ 
ness and that he has sacrificed the interest 
of the school to gratify his own selfish desires. 

“Work unceasingly, be open to suggestions, 
be broad-minded and fair, always forgetting 
self in a larger interest.” 

Organize a fair sized staff. They will be 
a big help to you because ten or twelve people 
are bound to know a lot more folks, and a 
lot more interesting things than one man can 
know, and they will give many a good sug¬ 
gestion. Then too, a big staff usually gives 
many different cliques and organizations rep¬ 
resentation on the book, and helps to keep 
the wheels oiled. People will do anything in 
the world to help you as long as there is no 
jealolrey^--arcaiS£iL-0£--resentment stirred. A 
V*college Annual editor must-be~a-politician in 
I the best sense of that—word=^he must be 
careful, and tactful or he may meet with ship¬ 
wreck. 

Appeal to the patriotism of your school¬ 
mates. Nothing your class can ever do will 
be as big a help to your school as a real “bang- 
up” Annual. Make them think of the task 
as a labor^of devotion and love. A good book 
may bring ntnnhetis"of students to the school 
next year, while a poor Annual may make 
some prospective students decide to go else¬ 
where. 

With the staff organized, the next thing 
is to give each one something to do. Impress 
them with the fact that they will have to work 
hard and carry out your requests immediately 
or else they will greatly hamper your work. 
Make them feel the vital importance of the 
big thing you are going to do. Rouse their 


enthusiasm. They will help advertise your 
work and make it easier for you to get results. 

If you are elected in the Spring, there is 
a lot of real work to be done, too, besides 
just planning. There’s the track team, and 
maybe the baseball team, and the senior play, 
and commencement day, and many other 
things to attend to that happened too late 
to be included in the other Annual. You 
know this will all be harder to find out about 
next Fall than it is now. There are pictures 
to be made, and names to gather, and write¬ 
ups to be outlined, for if you are not on the 
job all the time some of the most interesting 
things will be left out of your Annual. 

And Spring is the time to collect the snap¬ 
shots that will make your book so popular— 
folks don’t take so many pictures in the winter 
time, you know. Snapshots are one of the most 
essential things in a well-liked annual. Every¬ 
one likes to have his picture in the book, 
and he treasures the book longer if it has 
something about him in it—something be¬ 
sides mere statistics. The more folks you 
get in your book, the more folks who will 
boost your book—so get a snapshot of every¬ 
body in school, and nearly everybody will 
say you’ve gotten out a good book. Better 
fill the book with pictures even if you have 
to cut down on the number of pages or the 
number of colors, or the cost of the cover 
design. 

An Annual should be edited with a camera. 

It should be a story in pictures of one year’s 
history at your school, just as the illustra¬ 
tions in Collier’s are a story of one week’s 
history of the world. 

One of the first hard things you will en¬ 
counter in your work is the fact that so many 
of the terms you must use are technical and 
so many of the things you must know about 
are technical. Printing for instance, cannot 
be picked up in a da y, or a weg kr-or a year. , 
Photograp hy requires - y ea r s.. of long study 
and experience to master. Engraving is chuck 
full of technical terms - and notions. 

With so many other things to think about, 
and so little spare time, you cannot hope to 
delve far into these mysteries. And so you 
must make friends with folks who know. 

Nothing is quite so valuable to any man 
as the ability to make and keep friends. 
Especially friends who-kxtQW_thinjgs that you 
don’t know - ygt:— Fui instance, your ~fthfl to-\ 
grapher can tell you a lot of things that will 
help you get better snapshots, or help you 











12 


Building a College Annual 


group and mount them, or tell you the best 
ways to have portraits and groups made. 
He can help you work out a daily schedule 
so that the portraits can be made systematic¬ 
ally a few each day, without any big rush 
days being needed. 

Then you can wander into your engraver’s 
plant some day, and make the Service men 
show you how half tones are made, and why 
one kind of photograph makes a better half 
tone than another kind, and how a color 
plate differs from an ordinary plate, what 
zinc etchings are, and what kind of drawings 
are best. Or you can put down fifty or a hun¬ 
dred questions on a sheet of paper and send 
them in to be answered. 

And if there is no printer in your town 
to tell you what “picas” and “lines” and 
“ems” are, and what a “type page” is, what 
a “signature” is, and many other things 
that will help you understand your work, 
the Art Crafts Guild will be glad to help. 


An Education Worth Thousands 

If your work as Editor is a success it will 
command the respect and commendation of 
any progressive business man to whose at¬ 
tention it is brought, because its a real busi¬ 
ness undertaking, which requires brains, hard 
work and financing and those are the three 
requisites for success in any business. 

Your experience will broaden your mind 
no matter how broad minded you were before 
and it will put you in line for a paying posi¬ 
tion in the thousands of publishing and adver¬ 
tising firms engaged in such work throughout 
this country, should you decide to follow it 
as a business career. And unquestionably 
much of the best brains of the land are engaged 
in such work. Many of our biggest men 
today and for decades back have come from 
the journalistic or publishing profession. 


You’ve got a chance, young fellow, of a 
life time. Don’t leave a stone unturned to 
bring success your way. 

Success is spelled W-O- R-K. 

Cleverness is another name for hard work 
and constant study. Genius is won by the 
sweat of the brow. The road to knowledge 
and achievement is narrow and full of hard 
knocks—and verily a man cannot edit an 
Annual that is worthy the good white paper 
it is printed upon unless he shed his surplus 
garments and work, Work, WORK. 

He can who thinks he can. If you start 
out to edit the best Annual ever published 
at your school, you can do it if you think 
you can. Don’t worry about it if you are 
not particularly witty and “clever”. The 
cleverest man I know isn’t a bit clever natur¬ 
ally—he’s just a hard worker. He gets up 
early,—and he goes to bed early—in the 

morning. ----—'" " 

/ That is all it will take to make your Annual 
a “ live” o ne—just hard work. The Annual 
that presents interesting facts about inter¬ 
esting people and things at school in an at¬ 
tractive clean-cut way is the Annual that is 
treasured for years and years. 

So just start out by having a mental house¬ 
cleaning. Set your mind in order. Get rid 
of worry and don’t be hasty. Think of the 
things you-Ynow^ahou^t-your school, and try 
to learn some other thing s you don’t know 
about it. Do this before you get down to 
serious planning. 

Try to learn what big movements and big 
ideals yotrf sch 55 DH-~eoa cerh~e d'~with. Talk 
with the president or principal and learn what 
side of school activity he would like to have 
emphasized. Talk with the heads of the 
various departments. Perhaps they are con¬ 
ducting experiments or investigations that 
would make interesting reading in the Annual. 
Make friends with everyhod v and ask for 
their ideas. It will make your work much 
easier. ^ 

LET’S GO! 










CHAPTER II 

ORGANIZATION 


In order that you may have as much time 
as possible for the final editing and revising 
of copy and all the other work that comes 
up as the book nears completion, it is essential 
that you should have a staff large enough 
to adequately cover the various activities of 
the school. All classes and organizations 
should be represented on the staff. This will 
not only tend to lighten your work, but will 
create a spirit of complete harmony and co¬ 
operation in the work without which an editor 
is doomed to disappointment. 

Do not neglect to make full use of every 
member of your staff. The more people you 
have working, the more material and ideas 
you will have coming in. Inspire them with 
the spirit of co-operation and of patriotism 
to the school and with the ambition to make 
their Annual the best ever. In short, make 
them sense the importance of the work in 
which they are engaged and the necessity for 
a whole hearted, united effort. 


Correct Placement of Staff 

Editor-in-Chief 
Assistant Editor-in-Chief 
Business Manager 
Assistant Business Manager 
Associate Editors and Managers 

The above is the correct manner of placing 
staff names in order. 


Personnel of College Annual Staff 

An Annual Staff consists, first of all, of an 
Editor-in-Chief and a Business Manager 
elected by the class, or appointed by the 
Faculty. 

The Editor and Business Manager should 
be chosen early in the Spring, as they may 
then confer with the Staff of the preceding 
year and can plan their book during the sum¬ 
mer vacation. In this way they can make 


arrangements with the Printer, Engraver and 
Photographer early and will be able to start 
the detail work as soon as school opens in the 
Fall. 

A good plan, it would seem, would be to 
choose an Assistant Editor and Assistant 
Business Manager from the Junior class each 
year and after the year’s experience they will be 
especially fitted to assume the position of 
Editor and Business Manager on their own 
Annual. 

Many Senior classes appear shocked by 
such a suggestion, thinking it unjust for lower 
classmen to have the second places on the 
staff and thus acquire honors which such a 
place carries with it. 

Viewed from a purely business standpoint, 
however, Seniors are unjustified in taking such 
a stand. In any going concern a position of 
importance has an understudy. The Junior 
of today will be the Senior of tomorrow and 
will necessarily be confronted as Seniors with 
like problems. It should be taken into con¬ 
sideration that following out the suggested 
plan would each year advance the merit of 
their college publication and would by this 
same forward movement bring more honor to 
their Alma Mater. 

And then, you know, its always a good idea 
to have a vice editor and Assistant Business 
Manager because now days you never can tell 
when the chief will get run over by a Ford. 

The Editor-in-Chief and Business Manager 
in turn appoint a number of Assistants to 
handle the work of their departments. The 
departments of the book will determine the 
number of assistants, so the first thing that 
these elected officers should decide is the 
number of departments that will appear in 
the Annual. 


BUSINESS DEPARTMENT 

Before discussing in detail the duties of 
Editorial staff members, let us look into the 
Business Department and get acquainted with 
its workings. 


13 



14 


Building a College Annual 


The Business Manager —His Staff and 
Duties 

The Business Manager, whether the Institu¬ 
tion be a small school or a large university, 
soon realizes that he has had not only an 
honor but a real job thrust upon him. 

It solves the responsibility of: 

1. Raising of Funds 

2. Expending of Funds 

3. Accounting of Funds 

4. Soliciting Advertising 

5. Sale of Books • 

6. Distribution of Books 

7. Collection of Money 

8. Making Reports 


Assistants 

Naturally the Business Manager cannot do 
all this himself. He must have assistants and 
enough of them so as to be able to produce 
maximum results. Even with a full staff he 
will, at such times as when raising subscrip¬ 
tions or putting on sales of Annuals, need to 
call on class members to help out, making his 
assistants captains of competing groups. 

The Manager should first of all appoint an 
Assistant Business Manager, one to whom he 
can delegate routine matter. This Assistant 
should work closely enough with the Business 
Manager so that he has a general knowledge 
of the working of the business office or de¬ 
partment. In case of sickness or absence from 
school for a short length of time this Assistant 
should be conversant enough with things in 
general so as to be able to take his chief’s 
place while he is away. 

The Business Manager should then appoint 
other assistants as follows: 

Advertising Manager 
Who will handle all 

Circulation Manager 
Who will take charge 
of 

Accountant 
Who will have 
Charge of 

In the raising of funds, such as during sub¬ 
scription campaigns, sales, etc., all assistants 


should be willing to give their help, Assistant 
Editors as well as those of the business office. 

The expending of funds will, of course, 
largely be determined between the Editor and 
Business Manager, both of whom should seek 
the advice of the Faculty Adviser. 

Some Business Managers have appointed one 
or two more Assistants to work with Organiza¬ 
tions and Fraternities. 

A small staff of six or seven works more 
efficiently than does a larger group. The 
Manager should weed the staff down to a 
comparatively small number of assistants and 
try outs who will work conscientiously—which 
means every day. 

Calls for try outs should be made at the 
start of the semester, in an endeavor to secure 
as many workers as possible for the rush of 
fall work, subscriptions, advertising and rou¬ 
tine business. Only during the subscription 
campaign is a large staff of try outs and volun¬ 
teers preferable; throughout the remainder of 
the year, the small efficient staff is advisable. 

Some successful Managers of the past have 
selected double the number of Assistants event¬ 
ually required. These have competed with 
each other during a trial period closing at the 
time of the first advance sale. With this ad¬ 
vance sale as a final test, selection was made 
for the permanent staff. 


Manager’s Duties 

Direct Control over Assistant Business Man¬ 
agers, tryouts and staff is assumed by the 
Business Manager. He oversees and directs 
the general plans of each assistant. He should 
keep in close touch with every detail, but of 
course does not actually try to do all the 
immense amount of routine work. He should 
remember that possibly some one of his As¬ 
sistants will be Business Manager the following 
year, and that he is training a staff as well 
as financing an Annual. Individual responsi¬ 
bility is a good tonic for every staff member. 

Assistants should make their plans and sub¬ 
mit them to the Business Manager. He will 
either correct them or approve them; the as¬ 
sistants thus carrying out the actual work 
under his direction. 

He should have absolute authority to dis¬ 
charge or suspend any tryout or staff member 
for sufficient reason. 

The success of any organization is largely 
dependent upon the individual ability of its 


jAdvertising 

I Sale and Distribu¬ 
tion of Books 

Accounting 

■Collecting 

Reports 

Purchasing 






Organization 


15 


subordinate members. To successfully pick a 
staff it is well therefore to give every appli¬ 
cant a careful interview with the purpose of 
drawing out any unusually qualifying ex¬ 
perience. 

It is a good plan to keep before the staff 
a clear outline of their relationship. For this 
purpose a chart hung in the office, showing 
very definitely the general plan of organiza¬ 
tion and duties of each member, will be found 
of great value. 


DUTIES OF ASSISTANTS 

Advertising Manager 

The Advertising Manager should be one who 
is willing to work hard and is not easily dis¬ 
couraged, for he will meet with many cold 
receptions in his work, but as this source of 
income is one of the best he must not take 
“No” for an answer, but exhaust every argu¬ 
ment and every plan to sell the space. He 
may have several assistants and work on a 
definite campaign. He must solicit both local 
and foreign advertising. 


Circulation Manager 

This staff officer is responsible for the sale 
of the books, which is one of the biggest 
sources of income. He should have several 
good assistants, as soliciting subscriptions and 
delivering Annuals is slow and discouraging 
work at times. 


Accountant 

He will, of course, keep account of all funds 
received and expended and can also handle 
collections. He may need assistants for this 
latter detail. Making of reports also is part 
of his work and the purchasing may be handled 
by him. 

The above will give you an idea of the general 
make-up of the Business Department. Of 
course, as Editor-in-Chief you will become 
thoroughly familiar with all angles of the 
business proceedings first by careful study 
of the book dealing with College Annual 
Business Management and second, by close 
contact with the departmental workings. 


Now let us see of what the Editorial Depart¬ 
ment consists,—who the staff members are 
and their duties. 


EDITORIAL DEPARTMENT 

Make-up of Editorial Department 

Following is a list of Staff Assistants that 
are usually necessary. 

Assistant or Associate Editor 
Assistant Business Manager and As¬ 
sociates 
Alumni Editor 
Literary Editor 

Art Editor and his Staff of Artists 

Music and Dramatic Editor 

Athletic Editor 

Humor Editor 

Society Editor 

Calendar Editor 

Snap Shot Editor 


DUTIES OF EACH 

The Editor-in-Chief 

The Editor-in-Chief is the executive head and 
stands in the same relation to the Staff as the 
General Manager of a business. He shapes 
the policies to be followed and supervises the 
work of the other staff members, especially 
the editors of the various departments. He 
should, together with the Business Manager, 
at the earliest possible moment, lay out the 
entire book in dummy form following good 
precedent in Annual publication. He should 
then distribute the work among the various 
Editors and insist that they follow the plan 
finally decided upon, so that the finished 
publication will not be a scrap book, but well 
arranged and properly balanced. 

The Editor should call Staff meetings at 
various intervals and insist upon immediate 
action from his Assistants. 

As the work is turned in by various Editors, 
it must be read carefully by the Editor-in- 
Chief, with the aid of the Faculty Advisor 
and then placed in the dummy, ready for the 
printer. The necessary photos and art work 
must be properly marked for size and sent to 
the engraver. When proofs of engravings 
are made they should be pasted in their 
proper positions in the dummy. 




i6 


Building a College Annual 


Generally speaking, the Editor-in-Chief is 
responsible for all editorial work in the book 
and his work is not finished until the completed 
dummy has been sent to the printer and all 
proofs from the printer have been read and 
corrected. 

As before stated, the Editor-in-Chief should 
confer with the Business Manager when de¬ 
ciding upon various features of the book, such 
as size, number of pages, amount of art work, 
etc., because of the fact that all these features 
will be influenced by the financial status of 
the undertaking, which is the Business Man¬ 
ager’s province. 


The Assistant or Associate Editor 

He or they, if more than one, should stand 
ready at all times to advise or assist the Editor 
in his work. They should be willing and 
anxious to relieve him of details of which 
there are many and they are responsible with 
him for the editorial part of the publication. 

This is also true of the Assistants to the 
Business Manager. 


Senior Section Editor 

This Editor should start early, work late 
and be very systematic. His whole job is to 
collect the photographs of all seniors, get them 
in on time , and arrange them in proper order 
alphabetically. Then he must secure all data 
about each senior, his or her campus activities, 
clubs, fraternities, etc., and see that the 
proper photograph and halftone accompanies 
the right description. 


The Alumni Editor 

The alumni editor can be of great service 
by enlisting the support and co-operation of 
the Alumni. Too often this support and 
interest are lost by the Editor of an Annual 
simply because he makes no effort to obtain 
it. The graduates are usually ready to help 
when given the opportunity. There is plenty 
of work for the Alumni Editor and if the 
proper amount of time, space and solicitation 
are given to the graduates you will be sur¬ 
prised at the interest they will show in your 
Annual and the number of copies they will 
buy. 


The Literary Editor 

The Literary Editor is responsible, of course, 
for the stories, poems, special articles, etc., in 
the book, and may also handle the oratory and 
debating club departments. He or she should 
not only be able to write a good article, but 
should have the ability to suggest and outline 
articles that others are to write, and to censor 
and edit the manuscripts submitted. 


The Art Editor 

The Art Editor must shoulder the responsi¬ 
bility of getting out an artistic book, and since 
it is true, that an Annual is largely judged by 
the pictures it contains and the artistic ar¬ 
rangement of the book, it is easy to appre¬ 
ciate the fact that the work of the Art Editor 
will determine, in no small manner, the success 
of the Annual. He has a real job on his hands. 


Music and Dramatics Editor 

Music and Dramatics may be handled by 
one editor if desired, but if there is plenty of 
help available, the subjects may as well be 
handled separately. Students selected for 
these places should, of course, be interested 
in these arts and have the ability to portray 
the activities of these important departments 
in an interesting manner. 


The Athletic Editor 

The Athletic Editor need not be a member 
of any of the teams, in fact it is usually best 
to have one who is not, as this will prevent 
the possibility of any individual or team re¬ 
ceiving an undue share of publicity. He 
should be a “real fan” however, and so in¬ 
tensely interested and conversant with this 
phase of school life that he attends all con¬ 
tests and can thus write them up at first hand. 


Humor or Joke Editor 

The work of this Editor is to show the 
lighter side of school life and that is necessari¬ 
ly a very important part of the book. “Laugh 
and the world laughs with you, weep and you 
weep alone” as the saying goes, is true. He 
should appoint assistants in all classes to 




Organization 


17 


watch for the many funny things that happen. 
Someone should handle this job who can dis¬ 
cern between a good natured “roast” and a 
personal “slam”. 


Society Editor 

He or she should be one who is socially in¬ 
clined and is likely to attend most of the 
social events of the year. Prominence should 
be given to social affairs that have some con¬ 
nection with the school, such as class parties, 
school parties, picnics, dances, hikes, box 
socials, etc. 


Calendar Editor 

Several pages should be given to this section 
and the editor should be one who can give it 
plenty of “pep” and make it “snappy”. It 
is not necessary to chronicle events of each 
day, but only those things which are really 
worth while or humorous. Sometimes the 
Calendar and Humor may be handled by the 
same editor. 


Snapshot Editor 

One of the most important jobs of all, as 
the pictures do so much to make the book. 
Everyone leafs through to see what the pict¬ 
ures are like and if these are not good, he 
forms an adverse opinion. The editor of this 
department should be a “Kodak Fan” not 
only taking many himself but securing as 
many as possible from other students. 


Representatives of Other Classes 

The other classes should be asked to name 
representatives who will be responsible for 
getting their classes into the book. These 
representatives should be invited to meet with 
the staff as this will assure them and the 
classes they represent that the editing class 
desires the good will and co-operation of the 
entire school. 


Faculty Advisor 

A wise staff will send a request to the head 
of the school asking him to appoint a faculty 


member to act as an adviser, to offer counsel 
and to pass on copy. There is nothing to lose 
and everything to gain by this policy. It will 
prevent ill feeling, suspicion and lack of co¬ 
operation on the part of the faculty. It is 
a check on the insertion of rash material, 
gives protection to editor and a feeling of 
confidence in the purpose and success of the 
work. 


MEETINGS OF THE STAFF 

At the earliest opportunity the Editor and 
Business Manager should get together and lay 
out general plans for the book. A meeting 
of the entire staff should not be attempted 
until these two executive members have had 
a general understanding. A staff meeting 
without the guidance of the Editor or Busi¬ 
ness Manager would accomplish little or noth¬ 
ing. 

Have a staff meeting as often as the situation 
seems to warrant it. Once a week is not too 
often to meet. Frequent meetings will tend 
to keep up the enthusiasm and interest and 
will give you and your staff renewed inspira¬ 
tion for your work. Do not make the meetings 
too conventional. Give everyone a chance to 
voice his opinion on all subjects. However, 
do not go to the other extreme and make a 
mere social gathering out of the meeting. 
Remember that the purpose of the meeting 
is to plan for your Annual. There are plenty 
of other occasions for social affairs. 

A good plan is for Editor and Business 
Manager to meet before each staff meeting 
and make your plans, offering them to the 
staff for suggestions and criticisms. The staff 
members are not so closely in touch with all 
phases of the Annual work as are the Editor 
and Business Manager and often get a one 
sided view of matters. From experience it 
has been found that although many valuable 
suggestions will be offered by staff members 
yet the two executive officers will have to 
rely on themselves and each other for most 
of the policies to be decided upon. 


WORK IN HARMONY 
WITH THE FACULTY 

You will receive plenty of advice. An 
Editor soon learns that his subscribers in¬ 
variably know more about getting out his 




i8 


Building a College Annual 


paper—what should go into it and what 
should be left out—than he himself. You 
should lend every man your ear—you may 
get a good idea where you would least expect 
it—but make your own decisions. Work in 
thorough harmony with the school authorities 
and consult the faculty adviser often. He is 
representing the faculty and by carrying out 
his wishes you will also be working in accord 
with the entire faculty and are bound to have 
their fullest support. 

BE BUSINESS LIKE 

Accounting, filing systems, correspondence 
and all other phases of conducting the enter¬ 
prise in a business like way are dealt with in 
detail in Section VII of College Annual Busi¬ 
ness Management. It is therefor not necessary 
to repeat it here. However, even though the 
duty of conducting the business in a system¬ 
atic way falls chiefly to the lot of the Business 
Manager, you, as Editor-in-Chief should insist 
that it is carried out and to deal intelligently 
with the situation, you should understand its 
needs. We refer you therefor'to Section VII 
of that book. 


Making Reports 

Remember also that you and your staff are 
only the representatives of the class, duty 
bound to accomplish the task that has been 
assigned to you. Make frequent reports to 
the class direct or through the class president. 
Tell them in a general way of the progress of 
the work and enlist in every way possible the 
co-operation of the class. You also want the 
co-operation of the entire school. Talk An¬ 
nual to the underclassmen on every occasion 
that presents itself. If chapel exercises are 
conducted, some mention of the Annual should 
be made in these meetings at least once a week. 
Make the student body understand that while 
the book is being published by one class, it 
reflects the work of the entire school and de¬ 
serves the whole-hearted support of the entire 
school. 

Reports to the class should not only contain 
interesting items regarding policies and prog¬ 
ress of the work, but also a financial report 
from the Business Manager. The making of 
tdiese latter reports or statements is discussed 
in Section \ II of the book on Business Man¬ 
agement, and therefore need not be repeated 
here. 


No Annual can be a success if the work of 
any one of the staff is delayed until it has to 
be done in a rush and at the last minute. 
The financial success of the Annual depends 
to a great extent on how early the book is 
delivered for sale. 

There is no real reason why your engraving, 
photographing and printing contracts should 
not be placed very early and many good 
reasons why they should. Particularly should 
the engraving contract be signed early because 
the engraver is able to give great assistance 
in the early part of the work. 

Margin of Safety in Time 

Making a College Annual is like building a 
house. The architects and contractors devote 
much time and thought to the work before 
actual building begins. In the building opera¬ 
tions flaws are invariably found and delays of 
one kind and another occur. 

Exactly the same conditions obtain in mak¬ 
ing a College Annual, from the time the Staff 
is organized until the finished book is delivered. 

A margin of safety as to time allowed must 
be figured in all calculations. If it is intended 
to put the book on the market, April 20th, the 
Business Manager should set his date and enter 
the delivery date in his contract and specifi¬ 
cations as April 5th. It is safe to state that 
two weeks must be allowed for unforseen de¬ 
lays of one kind or another in the printing 
and binding end of the work. There will be 
delays in the preparation of copy, photographs, 
drawings, etc., over which the Editor-in-Chief 
will find he has no control. 

Our advice to the Editor-in-Chief is make 
your dates very early, and to the Business 
Manager make your contract for delivery just 
as early as possible, then hold your Editor-in- 
Chief right down to his dates. On such a 
schedule, everyone concerned in making the 
book can get through with comparative ease, 
including the engraver and printer who have 
their own reputation at stake. 

Getting a book out several weeks before 
school closes nearly always insures the sale of 
every single copy —but when books do not 
arrive until after school is over, it is just as 
certain that many will be left unsold. After 
the students are scattered it is almost im¬ 
possible to sell the books unless subscriptions 
have been partly paid in advance. The time 
schedule given in Section No. 1, is an excellent 
one to follow religiously. 

“Start Early and Avoid the Rush!” 






CHAPTER III 

PLANNING THE BOOK 


Do not make the mistake of going ahead 
and planning a large and expensive book 
before you know how much money you will 
have to spend. It will be far better to have 
some money left in the treasury than to incur 
a deficit. An Annual should not of course be 
built with the idea of making profit, but a 
small surplus is certainly better than a deficit, 
because such a surplus can always be used 
as the class decides,—to purchase a class gift 
to the school for instance,—such as a painting, 
piece of statuary or other permanent work 
of art. For suggestions write Art Crafts 
Guild. 


Making up the Budget 

There is nothing that so well safeguards the 
finances of an Annual as a careful and con¬ 
servative estimate of all sources of income and 
expense before the book is started. In most 
cases of financial failure of Annuals, the 
primary cause was an unsystematic handling 
of the budget or a total lack of a budget sys¬ 
tem. 

If an Annual has been issued from the 
Institution in years previous, the Manager 
should first ascertain from reliable sources how 
many copies of the book were sold and then a 
careful canvas of the enrollment in the Insti¬ 
tution will give a fair idea as to whether it 
is safe to count on an increased sale of books 
for the current year or just the reverse. 

At a High School or even a small College 
where an Annual is to be issued for the first 
time, we recommend that a very careful sales 
campaign be inaugurated to determine exactly 
how many copies can be counted on as a mini¬ 
mum sale before any attempt is made to go 
ahead with the work. 

The printing contract will most likely be 
made on the basis of the number of Annuals 
that can be sold. 

The Manager will then have to estimate 
how much money he will be able to get from 
Organizations and Fraternities on their con¬ 
tracts and the amount of Advertising which 
will probably be sold. He should then esti¬ 
mate his sure returns for the year outside of 
subscriptions. 


Following this he should estimate his ex¬ 
penses, such as engravings, printing, binding, 
office expenses, miscellaneous, as freight, cart¬ 
age, photographs, work and salaries, being 
very careful to include every item. 

Of course, in doing this estimating, cost 
records of previous years will be of great 
value for reference purposes and guidance. 


Margin of Safety or Reserve Fund 

Always allow for a reasonable margin of 
safety, or reserve fund. This reserve fund 
should be approximately fifteen per cent over 
and above the estimated expenditures. 

The chief thing here is for the Business 
Manager to be liberal with his liabilities and 
conservative in estimating his income, fully 
protecting the business department on the 
price of the Annual and yet keeping it as low 
as he possibly can, the lower the price the 
more copies should be sold. 

Do not overlook this reserve or margin of 
safety. It’s very important. You will find 
many extras creeping in unless you rule with 
an iron hand. Permit only the extras that 
are profitable, such as more pages of adver¬ 
tising or more copies for your subscription cam¬ 
paign. 

There is not one College in ten whose bill 
does not include a lot of extras, through no 
fault or wish of either the engraver or printer. 
Did anyone ever build a house without extras? 
It is only natural that some changes in plans 
occur as the work progresses. Then again, 
bear in mind that some books suscribed for 
are not paid for in full, and that even some 
of the advertising accounts may not be col¬ 
lected. 

We cannot emphasize too strongly the import¬ 
ance of having a good sized margin of reserve over 
estimated expenditures. 

Never , in spite of anything should the Manager 
count on this Margin or Reserve to provide for 
extras in the book. Nine times out of ten , when 
everything is paid, there will not be the margin 
planned. 


19 



20 


Building a College Annual 


MAKING ESTIMATES FOR BUDGET 

To every concern, large or small, an estimate 
of some kind is indispensable. This estimate 
may be the result of guess and may later prove 
inaccurate, but it is better than nothing be¬ 
cause it is a base from which to start operations. 

Here is an average, taken from several aver¬ 
age colleges, showing by percentages how the 
various sources of revenue make up the total. 
Of course this cannot be taken as true in every 
College and your revenue may differ in make¬ 
up materially from this. However, as stated, 
it is an average and will give you some idea 
as to percentages. 


Book Sales 

60% 

Organizations 

• 18% 

Advertising 

15 % 

Senior Fees 

7 % 


100% 

By making a careful estimate of the number 
of books you will be able to sell you can 
come fairly close to the total income. 

This can be done by first finding the per¬ 
centage of the total enrollment who have 
bought books in past years, then taking the 
same percentage of present enrollment and 
multiplying by the price of the book. That 
amount should be approximately sixty per 
cent of your total revenue. 


SELLING PRICE OF BOOK ANNUAL 

The selling price of an Annual is an item 
that can hardly be given with any accuracy 
here. Conditions vary so much in different 
localities, and at different times that there is, 
of course a great deal of price fluctuation and 
range. Much also depends on the size of the 
book, number of copies printed, etc., etc. 

The price should be established pretty much 
according to the revenue you are able to raise. 
In other words, the size and makeup of the 
book should depend on the finances, rather 
than finances be governed by the book. Your 
book may be planned so expensively that the 
cost would be prohibitive, which in turn would 
mean less sales, and chaos in the financing. 
It would of course be much better to plan 
moderately, selling a large number of books 
at a moderate price. So we say again, let 
finances govern planning rather than the other 
way about. 

The only other advice we can give you is 
to be guided by precedent in your own School. 


If no Annual has been previously published, 
write for advice to the Art Crafts Guild, Inc., 
stating your requirements, amount of revenue 
that it is possible to raise, kind and size of 
book you would like to publish, etc. Advice 
given will have the advantage of being timely, 
based upon prevalent prices and conditions. 


APPORTIONING EXPENDITURES 


Having made your estimate as to amount 
you will then make a preliminary estimate as 
to how it will be spent. The following table 
will help you, although, like any other estimate, 
it is subject to more or less revision according 
to locality and conditions. 

Photography . . 5% 


Engraving 
Printing . 
Miscellaneous 
Reserve . 


35 % 

4 °% 

5 % 

15 % 


100% 

For costs of Engraving and Printing, you 
can take the cost from the last Annual and get 
percentages of increase or decrease in costs 
from the Engravers and Printers. 


PREVENTIVE EXCESSIVE COSTS 

It is difficult, when building an Annual not 
to let temptation get the upper hand and make 
additions here and there. In fact, experience 
shows that the Business Manager has more 
or less trouble in preventing the Editorial Staff 
from doing this and spending more money 
than can be raised. 

The Editor and Business Manager must 
co-operate in this, holding specifications down 
to a basis on which estimates were made, and 
not adding to these specifications after con¬ 
tracts are signed. Another safe-guard is to 
purchase strictly under the order system which 
will be dealt with later. 


What the Planning Involves 

When making plans for your book you will 
find that the following items will need to be 
considered and decided upon. They are placed 
approximately in the order in which you will 
need to discuss them. 

1. Dimensions of book 

2. Number of Pages 









Planning the Book 


21 


3. Cover and Binding 

4. Paper Stock 

5. Divisions of Book 

6. Style of Type 

7. Art Work 

8. Photography 

9. Engravings 

10. Color 

This detailed planning will enable you to 
prepare an estimate sheet which is quite ac¬ 
curate and to draw up specifications upon 
which to get quotations on art work, engrav¬ 
ing and printing. Have your engraver advise 
with you on these details. It will help save. 


Dimensions of Book 

Paper is made in certain uniform stock sizes. 
You cannot pick any size at random, unless 
you don’t care how much the book costs, for 
only certain sizes will cut to advantage out of 
the large stock sheets. For this reason it is 
wise to consult your printer or engraver be¬ 
fore determining this. 

A page inches by io }4 inches is pleasing 
and cuts out of the stock size well. The page 
may be the same size whether the book is 
bound on the side or on the end. You should 
allow for generous margins, for the book will 
not be pleasing if the pages look overcrowded. 
A good size for the type page for such a size 
page as here given would be 5^ inches by 
7F£ inches, or 5 inches wide by 7 inches. 

Don’t think you ought to make your book 
some odd shape. If a number of annuals 
have been put out in years past, of the same 
size and shape, why not keep that shape and 
size so the books will look uniform from year 
to year? 


Number of Pages 

Consider carefully any possible increases in 
engraving or printing costs that may have 
taken place since last year’s book was pro¬ 
duced and add them to last year’s figures. 
If, after consultation you both believe that 
the resources can be increased over the sum 
collected by last year’s staff, plus any rise in 
costs, you can figure on a relatively better 
or bigger book. In adding pages to the book 
remember, however, that books are regularly 
printed in forms of either eight or sixteen pages 
at one time; so always figure to add pages 
according to multiples of these two figures, 


that is, 8, 16, 24, 32, 40, 48, etc. as the addition 
of a fraction of a form costs nearly as much 
as the addition of a whole form. 

When estimating the number of pages it 
is, of course, necessary to take into considera¬ 
tion the cost of paper which depends on the 
quality selected. Choice of paper stock is 
covered later in this Chapter. Prices of 
paper are subject to fluctuation at all times 
and cannot, therefor, be given here. It will 
be necessary to consult paper houses or your 
printer. Costs of annuals of previous years 
will, of course, be a guide. Estimates will 
need to be made of the space the text matter 
and picture will take. Of course more or less 
changing back and forth will need to be made 
before you know exactly how large your book 
will be. Do this, however, before you take 
estimates from engraver and printer. Not 
after. Changes are costly. 


The Cover 

The coyer js-one-oLthe-mo&^important feat¬ 
ures of the Annual. It is the first thing to be 
noticed and the effect it produces has much 
to do with th at “first imp ression” that is 
generally always lasting.- While the cover 
need not be of the most expensive material 
to produce a pleasing effect, it is never ad¬ 
visable to put a cheap cover on an otherwise 
good book. 

As stated heretofore, if you do not have 
student artists sufficiently talented to produce 
a first class drawing for the cover design, send 
us your ideas or a rough sketch in pencil of 
what is desired and we will make the drawing 
and submit same for your approval before 
proceeding with the plates. 

Paper covers are usually printed in one or 
more colors and part, if not the whole design, 
embossed; that is, made to stand in relief. 
While there must be a separate plate made 
for the embossing which is called the embossing 
die, and an additional charge made by the 
printer for embossing, an attractive cover 
design will greatly assist in selling the books. 

If the Annual is to be bound in leather, 
imitation leather or cloth, the best results will 
be gained by stamping the cover design in 
gold or gold leaf. The plate or die for stamping 
the design on a thick cover must be made on 
brass and is heated when stamping. 

If the book is one and one-quarter inches 
or over in thickness there should be a design 








22 


Building a College Annual 


for the back of the book or the part showing 
when the book is standing in the book case. 
The plate for this should also be made on brass 
and all that would be necessary is the name 
of the book near the top and the volume 
number or year near the bottom. 

Zinc plates to run in one or more colors, 
are most satisfactory for printing on paper 
cover stock. Coarse Ben Day tints may some¬ 
times be incorporated in these plates but as a 
rule, Ben Day plates do not print very satis¬ 
factorily on cover stock. If you have a special 
design to be worked out in Ben Day, ask your 
engraver about it before ordering the plates. 

When ordering zinc color plates for a design 
to be printed and embossed, it is necessary 
to indicate the portion which is to run in color 
and it is also necessary to indicate that portion 
which is to be embossed. 


Embossing and Stamping 

Embossing is the process of raising the lines 
or contour of a subject in relief above the sur¬ 
rounding surface. This is the kind of work 
done on paper cover stock. Stamping causes 
a depression in the stock and is done only on 
cloth, imitation leather or leather covers. 

Embossing and stamping plates are of two 
kinds—brass and zinc. Embossing and stamp¬ 
ing is done in two ways and is commonly re¬ 
ferred to as “cold” or “hot”. For cold em¬ 
bossing or stamping, a zinc die may serve the 
purpose, although a brass die will give better 
results. For hot embossing or stamping a brass 
die is necessary. 

It is impractical to attempt to emboss on 
covers small lettering, light faced border de¬ 
signs or any other very fine detail. 

Printing and Embossing Cover 

A design may be first printed in any number 
of colors and the entire design then embossed 
with one impression. Or, the printing may 
be entirely omitted and the entire design pro¬ 
duced by embossing. The latter is known as 
plain or blind embossing. Then, certain parts 
of a subject may not have been printed at all 
and the detail of the printed part as well as 
that necessary to complete the design may be 
carried in the die, thus producing part of the 
subject in blind embossing and at the same 
time embossing a part of the design which 
has been printed. 


Binding 

As to the specifications for the cover: 
Good cloth, especially buckram, will frequently 
outwear leather which is not Ooze, Sheep, 
Calf, Cowhide, Morocco, Russia or some of 
the other high-grade qualities. 

For Special Decorated or Embossed Covers 
ask your engraver. He will be glad to fur¬ 
nish you suggestions, or write Art Crafts 
Guild direct. 

There is also another good imitation leather 
cover called “Fabrikoid” which is used quite 
extensively. 

Distinction should be noted between Semi- 
Flexible style, a cover with leather on outside 
glued to a thin tag board, to which on the 
inside is glued the lining paper, and the Flex¬ 
ible style in which the thin tag board is omitted. 
We recommend the Semi-Flexible, although it 
costs a little more to prepare. The Flexible 
is apt to curl back unless kept under a weight 
for many days after binding is done. 

The covers for Annuals are always made up 
in advance of the binding of the book, so it 
is necessary that the number of pages should 
be definitely decided on early and such de¬ 
cision not changed by adding to or taking 
from the number of pages. For instance, 
should you decide to leave out many pages, 
after the covers are made, the bound book 
will look like a fifteen-year-old suit on a ten- 
year-old boy. The opposite result would come 
from trying to put in 32 additional pages 
after the covers are made up. 

“Limp-leather” bindings with their rough 
cut, extending edges are not as expensive as 
first thought might suggest. It is true that 
for a book an inch thick, with page dimensions 
after trimming 7^ by only three, or 

quite rarely four covers can be cut from a 
sheepskin of a surface measuring ten or twelve 
feet. The leather over the neck, legs and tail 
of the animal is useless in cutting out a piece 
18 by 12. These skins are dyed at the tannery 
in many colors and shades. To be perfectly 
frank, these colors fade to some extent if long 
exposed to light, especially sunlight. A good 
example may be found in the leather table 
cover or leather covered pillow such as is seen 
in a den or a student’s room. In a few months’ 
time the green shades will deaden, the blues 
and browns and the reds fade more or less. 
This class of leather is, however, generally 
conceded to be far handsomer in appearance 
than the more costly calf or cordovan (horse- 




Planning the Book 


23 


hide), which are practically everlasting. We 
are considering only the selected, natural thick¬ 
ness, sheepskin, termed “ooze-sheep”. Split 
sheep and split cow-hide, “pass-book” sheep, 
and some goat can be had in many colors at 
very low price, but such leathers as well as 
regular ooze sheep with blemishes should never 
be used in the binding of a permanent book. 

Leather covers cut and extending about 
one-half inch over the edges of the book are 
not as expensive as the “turned-in” edge, 
which, in addition to the extra cost, requires 
much more time in the bindery, due to the 
“paring” of the edges and corners and the 
extra amount of gluing required. 

Silk or “College Silk”, a good imitation, is 
often used as a lining. It is more expensive 
but adds much to the general appearance of 
the binding. 

In regard to the higher priced leathers, such 
as genuine Morocco, Turkey, Russia or tree- 
calf, their cost makes them suitable for backs 
and corners of very high priced bindings only. 
Ooze-sheep is not as lasting a cover as the 
better qualities of Cloths and Buckrams. 
While the ooze is far more attractive, especially 
if hot stamped blank or gold stamped, the 
good cloth is more capable of long and hard 
usage, particularly so in the hinge. On the 
other hand a full cloth case binding with its 
edges turned under, the stiff boards to be cut, 
trimmed and glued on both sides, and the 
much more accurate hanging, requires two or 
three times as much time in the bindery. The 
labor cost of cloth binding is heavier, the 
material costs very much less. Thus it is that 
the book in limp-leather binding, while cost¬ 
ing so much more on account of the high price 
of the leather, and the cutting to such waste, 
can be bound in far less time than the book 
bound in cloth. 

White and very light colors in both leather 
and cloth should be avoided, so easily are they 
soiled. Such great care must be taken by the 
workmen in the making of such bindings that 
an extra price is demanded. 

Cloth of the best quality comes in one 
hundred shades. Each shade may be had in 
fifteen different patterns, 1,500 in all from 
which to make selection. By no means all 
colors or patterns are carried in stock by the 
supply houses. For this reason selection of 
cloth or leather should be embodied in the 
contract. We remember one instance when 
two months’ time was required in which to 


secure a cloth of regular color and pattern. 
The securing of leather also is sometimes, not 
often, a matter of many weeks. 

We have produced some strikingly handsome 
effects in College Annual covers in the semi- 
flexible paper style of binding. This is cheap 
in price, and attractive in appearance but not 
so durable. 

Prices of the same grade cloth vary to some 
extent. Reds and Purples are highest in price, 
black the lowest. Cloth comes in rolls 38 
inches wide, 38 to 45 yards in length. Full 
rolls are cheaper per yard than broken rolls. 

Any printer can supply small sample books 
of both leather and cloth on application. 

When an Annual is placed in the hands of 
the subscriber, at least fifty per cent of the 
impression for good or bad, made by its first 
appearance, is in the binding. A book full of 
literary merit, magnificent presswork from fine 
plates, well printed on good paper, may be 
practically ruined in the bindery, in two ways: 

First: Specifications may be too cheap. 
Cheap imitation leather, no matter how well 
it may look at first, soon proves what it is 
and gives the entire book a very cheap appear¬ 
ance. If a solid board case is made, great 
care should be taken not to have the board 
too thin nor, on the other hand, too heavy. 
This board should be of good quality, with a 
smooth surface, or the leather will appear to 
have slight depressions and humps in the out¬ 
side covers; also in the linings. Cheap imita¬ 
tion gold leaf should never be tolerated, 
no matter how cheap the price of that item 
may be. It will tarnish within six months or 
a year, and within two or three years will turn 
almost black. We much prefer, where real 
gold leaf cannot be specified on account of the 
excess price, to blind-stamp the design on the 
cover, if leather. The binding specifications 
are naturally considered last, at a time when 
the Board of Management is weary of con¬ 
sidering all the large and small previous details. 
But this is an important matter. No one would 
think of putting a #9.99 suit of clothes on the 
President of the University. The binding is 
to the book what raiment is to the human 
being. It is as desirable to maintain the dig¬ 
nity of the College Annual as that of the 
president of the institution. On the other 
hand, printers have printed books with gaudy 
bindings which really belittled the good work 
which they covered. Too much gold leaf or 
color leaf will spoil a book as well as too cheap 
binding. 




24 


Building a College Annual 


Second: The actual labor done in the bind¬ 
ery must be first class. We have in mind 
bindings that have been turned out with the 
cheapest kind of machine sewing, cheap glue, 
cheap binder’s cloth or cheap sheep-skin or 
goat hide, put together roughly, in a hurry, 
by cheap help. Careful, slow work by com¬ 
petent employees, who have mastered the 
trade, will bring good work from a bindery, 
especially if there be ample time in which to 
do such work. 

A “case” made on a machine, in a cheap 
bindery, the book “hung” in the case in a 
hurry, with perhaps little attention paid to 
the condition of the glue, whether it be too 
hot or too cold, the book pressed for half an 
hour and then turned into a shipping case, 
will surely guarantee a book which will fall 
to pieces within a few weeks. The moral fol¬ 
lows: “Give the printer ample time in which 
to do good book binding as well as good 
printing”. 

- The higher cost of production of a truly 
substantial binding can be neither seen nor 
understood by persons of keen intelligence 
unless sufficient investigation be made to en¬ 
able them to make comparison. 

Many beautiful and valuable books simply 
fall to pieces if subjected to hard usage because 
of ignorance regarding binding specifications. 
A book in which the horizontal dimension is 
greater than the vertical should be much more 
carefully bound than one in which the vertical 
dimension is the greater. A book whose page 
is six inches horizontal and nine inches vertical 
bears exactly the same relation to a book 
nine inches horizontal and six inches vertical 
as a six by nine shelf bracket sustaining a nine 
inch shelf with six inches on the wall, to the 
same bracket attached nine inches to the 
wall and supporting a six inch shelf; a simple 
demonstration in mechanics. The nine inch 
shelf requires plenty of long screws firmly 
driven into the wall to afford as much strength 
as a few short screws would give the six inch 
shelf attached to the wall by the nine inch 
dimension of the bracket. Just so with the 
sewing, “rounding and backing” and gluing of 
the books. The leverage of the long hori¬ 
zontal page against the resistance of the short 
vertical sewing edge is great and ought to be 
carefully provided against in the binding speci¬ 
fications of the book. 

Some books fall to pieces because of the 
fact that they are folded on a folding machine 
in forms of thirty-two pages and sometimes 


sewed in the same size forms on a sewing 
machine. Especially if the paper be heavy 
or bulky, is this true. In comparing cost of 
production of such machine folding and sew¬ 
ing with hand folding in forms of sixteen pages 
(or if the paper be unusually heavy, of eight 
pages only) and hand sewing on tapes, we 
must include in our consideration the fact 
that the smaller the form the greater number 
of single folds, gathers and stitches required 
in the book; also the fact that hand folding 
is much more expensive and that the hand 
sewing of small forms is many times more 
expensive, as well as almost infinitely slower. 
It may be interesting to note here that the 
“sewing bench” for the hand work of today is 
practically the same as that used in the times 
of Jean Grolier and William Caxton. Take 
for instance, an ordinary College Annual of 
three hundred pages. The machine work can 
be produced for five cents per copy less than the 
hand work. In an edition of five hundred 
copies the printing estimate will be $25.00 
lower unless the specifications distinctly em¬ 
body the hand sewing on tapes in small forms. 
The machine work looks just as well, sells 
just as quickly and for just as much money. 
At first nobody knows the difference, but a 
comparison of hand work with machine work 
in these details even a few months after the 
book is completed will tell the tale only too 
plainly. 

One printer says, “Last season we secured 
the contract for the Annual at one of our 
large state universities because of the fact 
that the Annual of the preceding year had 
fallen apart. It was a large and very hand¬ 
some book, beautiful leather, heavy paper of 
excellent quality, well printed, full of costly 
engravings and from a literary, statistical and 
historical point of view, par excellence, but 
from the point of view of permanence, a total 
wreck inside of six months. In this beautiful 
book the tapes could be seen and felt in the 
backbone, but when the book fell apart, the 
sewing proved to be machine work. The tapes 
had been simply pasted on, over the threads of 
the machine and not under and a part of every 
stitch made by a hand propelled needle; a 
saving of $40.00 on eight hundred books, two 
per cent on the total money cost, about 
$2,000.00, to say nothing of the value of the 
labor, worry and time given the publication 
by the manager, editor, artist and other mem¬ 
bers of the staff”. 

There is perhaps the same distinction be- 




Planning the Book 


25 


tween the various grades of book-bindery glue 
as between different qualities of varnish. To 
the inexperienced, time is the only proof of 
quality in both articles, and not always then, 
as a careless employee may brush the back¬ 
bone of too many books at one time, thus al¬ 
lowing the glue to chill before the “hanging” 
of the cases is completed. A glue costing 
eighteen or twenty cents per pound, if properly 
applied, will be quite flexible and lasting in 
the book’s backbone, whereas a nine or ten 
cent glue will surely crack, and perhaps in 
cracking loosen some of the threads. A good 
binding absolutely requires good glue. 

A sheet of gold leaf is about 3 3-8 by 3 3-8 
inches. It costs, if XXX Deep Gold from a 
reliable house, about 1^ cents. The cost of 
gold leaf work, however, is not so much in the 
gold as in the skilled labor required in its 
handling. Nothing is more interesting than 
to watch the book binder open the “pack”, 
take the “leaf” out from between the tissue 
leaves of the “book”, spread it out with the 
“pallet” so very carefully and slowly on the 
cushion, cut it with the same “pallet”, lay it 
in pieces on the “case” over the already 
“sized” spot which is now to come under the 
almost red-hot “die” in the embossing press, 
where an instant’s contact under pressure will 
make good gold bright and rich forever. The 
unused portion of the leaf is then removed by 
a sticky “rubber” resembling a handful of 
putty. 

Gilding the top or other edges of a book is 
a still more expensive and of even slower 
process. 

To insure minimum expense in gold leaf 
stamping one should be careful to keep the 
design to be stamped down to one leaf. As 
the process of stamping does not admit of 
“laying on” with accuracy, the plate or die 
should not exceed 3 by 3, or 6 by \]A. Cover 
designs should not be selected in which are 
gold rules around the edges of the cover, or 
one line at the top and another at the bottom 
of the cover. The cost of the gold leaf work is 
very heavy in such designs. Cheap gold 
leaf, Oriental Tissue, or imitation gold, should 
never be considered if permanency of brilliance 
in the gold is desired. Such articles are cheap 
and can be put on and stamped very quickly 
and cheaply. The result of their use is pleasing 
temporarily but in the course of a year or 
two the lustre is gone. 

Color Leaf is quite popular, comes in long 
strips in width of four or five inches, or in 


sheets, which can be cut to exact size, in 
quantity in a cutting machine. It may be 
had in great variety of colors. The handling of 
it is cheap because quick and the article is 
inexpensive. Larger designs may be used in 
connection with color leaf for less expense 
than even very small designs for gold leaf. 

Printing of a nice book cover of leather or 
cloth should never be tolerated. It is very 
cheap and brands the publication as such. 

Blank Stamping is handsome and fairly 
cheap. The die is prepared as for gold leaf 
or color leaf work. The degree of heat and the 
length of time of contact determine the shade 
of dark color secured. Thus a brown leather 
cover stamped very hot and a little longer 
than usual will be almost black. Black leather 
blank stamped hot and long will give a gloss 
to the lettering or design. 


Paper Stock 

We quote the following from the papers by 
the Champlin Printing Co. of Columbus, 
Ohio, copyrighted by them in 1912. 

“Paper is a subject on which very few per¬ 
sons become really expert. Coated or enamel 
papers are perhaps the most perplexing. They 
are single, double and triple coated. They 
are sold only through jobbing houses who 
seem to change the names of their brands 
from time to time, as trade conditions demand. 
Prices vary according to quality, finish and 
number of coatings. The same paper is known 
by different names in the catalogs of different 
jobbers, excepting the Dill & Collins and 
Warren brands which retain the same names 
in the catalogs. 

The greater the number of books and the 
greater the number of pages, the greater should 
be the care given to the selection of paper. 
An edition of 100 books of ninety-six pages 
requires (barring ten to fifteen per cent spoil¬ 
age) 300 sheets of paper. An edition of 1000 
copies of a book of 400 pages requires (barring 
seven or eight per cent spoilage) 12,500 sheets. 

Engravers usually recommend for illustrated 
books, the use of a highly glossed, pure white 
paper. Such paper in the hands of a good 
pressman supplied with good ink does show 
the engravings off to the best possible advant¬ 
age. Individual preference has all to do with 
this item. Some authors prefer Mission Furni¬ 
ture and Arts and Crafts Architecture. Such 
persons are apt to like a handsome rough 






26 


Building a College Annual 


paper with perhaps deckle edges, the illustra¬ 
tions being printed on the new and now tre¬ 
mendously popular dull papers. These papers 
are higher priced, but they now come in sev¬ 
eral shades of India, gray and light green. 
Good engravings, printed in shades of ink 
harmonizing with the shades of paper, appear 
well as inserts (whole leaves inserted) here 
and there between the rough leaves of type 
matter. The richest possible arrangement is 
to print the illustrations on dull paper, such as 
Dill & Collins Superb, in ink harmonizing with 
the papers and the cover of the book,“ bleed ” the 
picture and tip it to the rough paper leaf of 
a type page. To do this work acceptably 
requires the services of a bindery employee of 
experience in tipping, the use of the highest 
grade library paste (common paste and in¬ 
experience will make a “mess” of such work) 
and a lot of time and patience. 

As to thickness of paper, a book of few pages 
appears much better on very heavy paper, 
whereas a book of many pages has every reason 
for the use of lighter weight paper. The cus¬ 
tomary specification for a College Annual is 
an enamel paper on a weight basis of 25x38— 
80 lbs. to the ream of 500 sheets. This, for 
a book whose untrimmed page is 8x11, is 
32x44—119. Many Annuals have been print¬ 
ed, however, on 32x44—133 and on 32x44— 
148. The engravings do not appear to any 
more advantage on the very heavy paper. 
It simply adds bulk, thickness, weight and 
expense. 

For “tips” the paper should be as light as 
possible owing to the bulkiness of the tips 
and paste. 

Deckle edge paper in large sheets costs 
about twice the price of the same relative 
quality in smooth edge. The deckle in the 
large sheet when folded shows on one-half 
only of the leaves, and on one edge only. 
Deckle edge paper in small sheets costs fully 
three times the price of plain edge paper of 
good quality, but it has the advantage of being 
deckled on one edge of every leaf after folding. 
Genuine imported Dutch and English Hand¬ 
made Rough Book papers may be had. They 
are used for small editions of fancy brochures 
only. 

Odd papers, such as are not carried in stock 
by jobbers, can be secured, but at greater cost 
than for papers of regular sizes, weight and 
colors. They are special made at the mill, in 
large quantities only and the jobber is required 


to accept fifteen per cent over-run or under- 
run as the case may be. 

The above is about all the detailed informa¬ 
tion which can be given here regarding the 
important item of paper stock. As before 
stated you should secure samples and quota¬ 
tions from paper houses if you are going to 
buy your own paper, or from your printer if 
paper is to be included in his contract. 

Always have your engraver pass on the 
paper. 


Divisions of Book 

As to the arrangement of the different sec¬ 
tions of the book, no hard rules can be laid 
down as this would cause all Annuals to be 
practically similar in construction and lose 
all of their individuality. 

The remainder of this chapter will be taken 
up in naming the many subjects or sections 
that a College and High School Annual may 
contain. While these sections will be taken 
up respectively as they usually appear in large 
College Annuals, the editor must strike out 
for himself and put his own personality into 
his work. 

The Editor should also bear in mind that it 
is not necessary to include in his book all 
sections named herein to insure a successful 
publication. 

Regarding the designs and illustrations 
throughout this book, use them as a basis 
for new ideas only, for by copying them will 
immediately lose the individuality that should 
be maintained throughout your Annual. 


Ex Libris or Book Plate 

The “Ex Libris” or book plate, printed 
from either type or engraving should appear 
on the lining of the front cover. Illustrations 
show a few ideas for book plates. These may 
be printed in any color desired. 


Numbering Pages 

In numbering the pages of all books, page 
one should always appear on the right hand 
half of the opened book, therefore, it will be 
easily seen that all even numbers will fall on 
the ieft hand side with the odd numbers on 
the right. 




Planning the Book 


27 


Sub Title 

A sub-title containing only the name of the 
Annual should appear on page one. 


Copyright 

Page two may be left blank or contain the 
copyright if you are to copyright the book. If 
so print in your book “Copyright (year) by 
(name of Annual or School) (Address) (Name 
of Engraver). Immediately after the pub¬ 
lication send to the Registrar of Copyrights, 
Library of Congress, Washington, D. C.” for 
information and blank, telling that office what 
you wish to copyright. After receiving the 
blanks and filling therein, you will send the 
copies of your Annual together with the blank 
and money order for one dollar as directed. 


Title Page 

On page three should be shown the full title 
of the book and should contain the name of 
the Annual, volume number, by whom pub¬ 
lished and the name and location of the school 
or college. These titles may be either printed 
from type or engravings from pen and ink 
and wash drawings. The Title Page should 
always be a right hand page. 


Staff 

The next page can be given over to the 
Annual Staff if you should so wish. The 
names and title of staff members should be 
used. 


Foreword 

The Foreword comes next. Something apro¬ 
pos to the ideals the staff has had in mind in 
publishing the book will do. 


Dedication 

The “Dedication Page” or pages should in 
view of their importance be placed in the fore 


part of the book. If there is sufficient room, 
two pages may be used for this purpose, one 
showing a large bust view of person to whom 
dedicated and the other carrying the words of 
the inscription. 

In view of the prominence of the official or 
party to whom dedicated, it is best to make 
this picture more artistic than the other por¬ 
traits. While many editors may use a square 
finish halftone we recommend a large outline 
vignette or full vignette bust view or a photo¬ 
graph in combination with a wash drawing. 


Order of Books or Contents 

The “Order of Books” must necessarily be 
near the front of the Annual. This should 
include the various sections, as Classes, Uni¬ 
versity, Co-eds, Athletics, Organizations, Activ¬ 
ities, etc. and may be printed from an engrav¬ 
ing or type. 


View Section 

Immediately after comes the view section 
of one or more full page views or mounted 
groups of views of the college buildings, 
campus, water scenes, etc. although many 
editors extend the views throughout the book. 

If the finances permit, these views may be 
made up in two or more colors or in plain 
black and white on cameo stock. 


Senior Section 

Practically all year books are created and 
their maintenance justified by the graduating 
Seniors. It is to them that all due respect and 
courtesy must be directed in working out a 
successful Annual, consequently mistakes in 
the Senior section of your book will be most 
quickly noticed and loudly criticised. If the 
editor will evolve a business-like plan reason¬ 
able to everyone, and one which will give the 
engraver and printer plenty of leeway the 




28 


Building a College Annual 


Senior Section can be produced with 100% 
accuracy, and be a credit to the class it rep¬ 
resents, and the book in which it appears. 

The first thing to be decided and one which 
can be worked out very early in the year, is 
the problem of back-ground and page arrange¬ 
ment, not for the senior picture half tones, but 
for the printed material that is to appear. 
Decide first whether you want perpendicular 
panels, or horizontal panels for the Senior 
pictures, and if you want horizontal panels 
with one at the top and one at the bottom 
of the page or one large one at the top. Second¬ 
ly, having decided on the general shape and 
size of the senior picture panel groups, you 
must decide on the style of make up of the 
printed material. 

In Section VII of the Book on Business 
Management is given a form such as you can 
have Seniors fill out. 


Junior, Sophomore and Freshmen Section 

These three sections may be taken up im¬ 
mediately after the Senior class in the respect¬ 
ive order as named above. They should be 
illustrated in the publication, but not nearly 
so prominent as the Seniors. It will also 
depend upon the finances just how elaborate 
any of the classes may be shown. 

While panels are often used, ordinary groups 
and groups of mounted portraits are more 
practical and least expensive. 

Large groups of students should be arranged 
in rows so as to give an unobstructed view of 
the faces in each row. The group may be 
posed by seating the first row on low benches 
or the floor, with the next row seated in chairs, 
the next standing and other rows if necessary 
standing on benches, etc. 

Steps are also used to excellent advantage 
in securing groups. 

When the photographs of the groups are 
taken, the photographer should arrange the 
students in as compact a group as possible. 
The group, if necessary, may be four or five 
rows deep so as to shorten the length of the 
rows. When this is done, the photographer can 
obtain a close-up view which is necessary to 
obtain large and distinguishable faces. 

These three sections, the Junior, Sophomore 
and Freshmen, may also have the pictures of 
the class officers preceding them. 


Athletics 

In the average present day College or Uni¬ 
versity the one activity that compels almost 
universal attention is athletics. It is some¬ 
thing that keeps the school together in com¬ 
mon bond of unity—that cements all factions, 
and it is one of the most important parts of 
a successful year book. Your book can be 
made or killed by your athletic section. Stu¬ 
dents are not interested in compiled statistics 
but rather in action pictures of the most vivid 
sort. One good athletic action picture is worth 
3 pages of writing whether it be praise or alibis, 
or five small indiscernable snaps. Start early 
collecting athletic action pictures of every 
sport for which you have teams. Keep your 
photographers busy, for by having a large 
assortment you can always pick the best ones. 
WRITE TO OTHER SCHOOLS WHERE 
YOUR TEAMS HAVE PLAYED AND 
HAVE THEM SEND PICTURES TO YOU 

Give all due respect to your athletic cap¬ 
tains. If possible devote a full page picture 
to each one, not in civilian clothes, but in 
athletic togs. Avoid the small snapshots and 
crowded full page half tones of snaps and try 
to get big, live, action pictures of your teams 
in competition. Every letter man of each 
team deserves at least a 3 inch vignette half 
tone with a short write up of his position and 
playing qualities. Don’t have the football 
men pose for these individual pictures by 
standing up; get them crouching, charging, 
making a tackle or passing the ball. Even 
tennis can be recorded in action. There are 
no better action pictures in the world than a 
man raising a loffert two inches over the net. 
The make-up, order, and organization of the 
athletic section is one of taste and discretion 
for the managing editor and his athletic editor 
to work out, but be liberal with your athletic 
space, even at the expense of slighting other 
sections, it is here that the true spirit of the 
school can be brought out. 


Organizations 

Under organizations include music, drama, 
oratory, sectional clubs, honor societies and 
Fraternities.. There is little that can be said 
on these subjects or headings, except this:—in 
as many cases as it is possible—have the or¬ 
ganization have a group picture taken. Any 
ordinary group can be gotten in a picture that 




Planning the Book 


29 


will reduce to 5 inches by 3 inches and still 
have every one very clearly distinguishable. 
The reason for group pictures is simply this:— 
that in this section of the book the pages are 
largely nothing more than the recording of 
names. There are oftentimes 150 to 200 pages 
of the book devoted merely to such organiza¬ 
tions and mere type and black print get very 
monotonous. Whereas if the organizations 
have grouped pictures taken interest immedi¬ 
ately is fostered and quickened and instead of 
having so many pages of dead monotony, you 
have pages that at least interest many more 
than if they were mere type. Secondly, insist 
that all material from fraternities and organi¬ 
zations be in and recorded by Christmas 
vacation. This is essential because you will 
simply be swamped by the middle of January 
with other details which means that there 
will either be a myriad of mistakes or that the 
book will be delayed in publication. 

It is a very popular custom to show in con¬ 
junction with the various groups their respect¬ 
ive coat-of-arms and chapter house. Many 
art editors draw the coats-of-arms and letters 
in the center of the group of mounted portraits, 
while others show them in separate halftones, 
outlined or vignetted. 


Publication Section 

This subject should include the members 
of the staffs of the various publications of the 
school, as the weekly, monthly or the Annual. 
It is not necessary that more than a short 
paragraph be written concerning their activi¬ 
ties. 

Use groups showing large faces for the staffs 
and give the name and official position of each 
officer. 


Beauty Section 

In many co-educational institutions and 
women’s colleges an extremely interesting sec¬ 
tion is the “Beauty Section” or “Vanity Fair” 
or “Queens”. As the names indicate, this 
section is devoted to picturing the pretty 
women of the institution and the subject lends 
itself to most elaborate and artistic designing. 

Unless you have very skillful artists avail¬ 
able it is well to use the art department of 
your engraver on this work. Unusual screen 


combinations with unique backgrounds of lace 
and tapestry effects are attractive and the 
Rotrogravure sections of magazines are often 
equalled by good engravers in College Beauty 
Sections. 

The greatest difficulty for the editor in 
planning this section is in the selection of 
photographs of young women who actually 
are the beauties of the campus. It is best to 
leave this selection to some disinterested party 
who is a capable judge of feminine beauty— 
some well known artist is best. 

You can count on plenty of criticism, no 
matter how this selection of beauty is made 
for everyone has a different personal opinion 
on such a subject, but that should not bother 
the editor if he finally gets an attractive sec¬ 
tion of eight pages of attractive women. 

This section may be promoted successfully 
by a beauty contest thrown open to the entire 
feminine student body. The votes may be 
cast on a general election day, such is as in 
use on a number of large campuses, after pict¬ 
ures of the various contestants have been 
submitted to the student body by means of 
the campus paper. See Section V of the book 
on Business Management for detailed descrip¬ 
tion of how to conduct the contest. 


Calendar Section 

A year book is primarily, the recording of 
the year’s events and happenings in pictures. 
Things (that are interesting—that make inter¬ 
esting reading if recorded by photographs) take 
place so fast around the average college or 
university that it seems almost essential to 
devote at least a small section of the work to 
such events. They may be catalogued ac¬ 
cording to the months if you wish, or shoved 
in at random;—the one essential being good, 
clean, big live photographs that tell a story 
by just looking at them. Call it the “Events 
of the year section” or the “Calendar” or the 
“Almanack”, or whatever you please, but be 
sure you have pictures that scarcely need a 
caption to explain them. 


Snap Shot Section 

And now in regard to the snap shot section, 
it seems much better, if such a plan can be 
worked out, to avoid the personal responsi¬ 
bility of picking the men whose names and 
pictures are to appear, by shifting the burden 




30 


Building a College Annual 


to a representative Campus organization, such 
as the student council, or a faculty committee, 
with of course, the suggestions and help of the 
editor. If this can be done and the men whose 
pictures are to appear in the snap shot section 
are not chosen by likes or dislikes, but rather 
for campus activities, or what they have done 
for the school, then the annual criticism of the 
editor, as to the selections made, will be avoided 
and the burden of the selections will be placed 
on some one else’s shoulders. It may be all right 
just to print the nicknames of the men under 
their snaps, if the school is small enough so 
that everyone knows who they are, but it 
seems that even where the school is compara¬ 
tively small, it is much more dignified and con¬ 
servative to print under a man’s picture his 
name, home address and activity in which he 
has participated. By doing that you are sure 
of giving everyone, regardless of who your 
readers are, at ieast a more definite knowledge 
of the man at whose picture they are looking. 
The snap shots in such a section can be either 
individual halftones of a convenient size— 
say i }4 inches by inches, a size which per¬ 
mits five on a page with sufficient room for 
the printed caption, or they can be mounted 
on an attractive background with the lettering 
under each, and a full page half tone may be 
made of the five or six that you plan to run to 
the page. 


Farce and Jokes 

A joke is exceedingly different from a “ slam ” 
therefore, the editor must be very careful to 
eliminate anything from the joke section that 
may tend to insult a fellow student or a mem¬ 
ber of the faculty. 

Jokes may be obtained from various sources, 
however, let the most of them be original and 
refer to College or High School life. 

It is a very good idea to run the jokes 
through the advertisement section in conjunc¬ 
tion with cartoons. This will insure the adver¬ 
tisements of being read. 


Department Headings or Sub Division 
Pages 

A publication would not be complete without 
headings or titles for the various departments 
or sections, whether in type or engravings. 


The most important sections, such as Facul¬ 
ty, Senior, Junior, Sophomore, Freshman, Ath¬ 
letics, Music and Drama, etc. should have 
very prominent headings. They need not oc¬ 
cupy whole pages, although whole pages are 
very popular. 

The headings may be in either one or more 
colors, however, the size of the designs and the 
number of designs in color will depend largely 
upon your finances. Full page headings from 
line drawings are the most popular when finan¬ 
ces are limited, while in many of the smaller 
High School publications the headings are set 
in type. 

As before stated you may or may not use 
all the subdivisions in your book which are 
above explained. 

It all depends on the size of your book and 
on what your finances will allow. However 
we have set them all down in the approximate 
order in which they are usually run when used. 
Let finances and your own good judgment 
dictate in your particular case. 


Style of Type 

This is very important. The type style 
will help to a great extent in making or marring 
the book’s appearance. There is so much to 
be said regarding it that a special page is 
given to its discussion. 


Art Work 

Art work is also taken up in detail in Chapter 
VII. However, think of the artistic side of your 
Annual. 

Even lots of pictures and clever writing will 
not make an Annual successful if the artistic 
side—the “make-up”—of the Annual is neg¬ 
lected. Recently an annual was issued by a 
large school. The paper was good, the binding 
neat, the write-ups well worded—but a great 
many little things were neglected in the make¬ 
up because the book was late and had to be 
rushed through, and no one seemed to like the 
book very much. 

Get started early and then think out each 
page carefully. There is a right and a wrong 
way to place the pictures on the pages. There 
are many little things about type that will 
make or mar your book. The choice of the 
wrong pictures may injure the effect. Or per¬ 
haps some things can be done to your pictures 
to make them more effective. 





Planning the Book 


3i 


Unless you have studied the art of book 
making a long time, it will be hard to decide 
all these things by yourself—but there’s no 
need to do that. The engraver can be of assist¬ 
ance on this vital part of the work. 


Photography 

This important subject must be discussed in 
detail elsewhere. Chapter VIII does so. But 
be sure of first plenty of photographs and 
second good ones. 

An Annual is first of all a picture book. 
College annuals are looked at, not read. Judg¬ 
ment is passed on a big four hundred page an¬ 
nual in fifteen minutes. The first time the 
students thumb through it is when they decide 
whether or not it is good or “like all the rest 
of them”. 

Pictures are what they want—pictures that 
jump off the page at them—big close-up, inti¬ 
mate pictures—pictures of somebody doing 
something—pictures with action and life in 
them. 

Get a camera—a good one, and go out after 
pictures. Spend all you can for photographs. 
If you know somebody in school who takes 
good kodak views, you want to make him your 
best friend. 


The pictures should be as informal as pos¬ 
sible. When you can do it, don’t let the people 
you are shooting know it themselves. Strive 
for new points of view. Climb up on the col¬ 
lege buildings. If you can’t do anything better 
show them a picture of the back door of the 
“Main Building”, this year. 

You should get so many pictures that you 
can reject fifty per cent, of them, for about 
half of any collection of photographs is sure 
to have no pictorial value. 


Engravings 

Must be discussed in detail elsewhere. See 
Chapter IX. 


Color 

Your book will have to run through the press 
as many times as you have colors used in it. 
Therefore color costs more to print. Color 
engravings also cost more. 

However, color has a universal appeal. Use 
it if you can afford it. If not all through the 
book, then in one or two certain sections. Be 
sure your color is used effectively. 

Consult your engraver regarding its use. 





























































CHAPTER IV 

SPECIFICATIONS, CONTRACTS 
DUMMIES 


DRAWING SPECIFICATIONS 

After you have fully decided upon the size 
of the Annual and the various features dis¬ 
cussed in the preceding Chapter you should 
make up some sort of a loose leaf dummy 
(nothing finished, that will be discussed later) 
but something you can get quotations on to¬ 
gether with printing specifications. This will 
also serve to help you in the selection of your 
engraver and photographer. 

As brought out in the book on Business 
Management, prices of engravings are stand¬ 
ardized to quite an extent. Selection of your 
engraver is, then, a matter of decision based 
chiefly on service. No specifications are neces¬ 
sary in this case. 

Neither are specifications necessary in the 
photographer’s case. Quality and service can 
be your guide. 

However, there will no doubt be quite a 
variation in printer’s quotations even among 
the printers who are high class and will give 
both quality and service. Moreover, printing 
the book will use up so much of your appro¬ 
priation that specifications become necessary. 

One set of specifications is given you in 
Section IV of the book on Business Manage¬ 
ment. We give another form here. Either 
one may be used as a guide. 


A Summary of Items for Printing Speci¬ 
fications 

1. Printing Specifications. 

2. Name, address and telephone number 

of purchaser. 

3. Date. 

4. Submitted for estimate to (fill in print¬ 

er’s name). 

5. This job to be known as (fill in title). 

6. Submit prices on each of the following 

quantities,. 

7. Size of cover (width and height). 

8. Cover stock (name of stock, size, weight 

and color if possible). 


9. Cover trimmed (whether flush, over¬ 
lapping and if to have deckle edge). 

10. Cover printing (character and size of 

plates and number of colors). 

11. Cover inks (name and reference number 

of each ink if possible). 

12. Cover embossing (size of die, whether 

of steel or brass and colors to be raised) 

13. Size of inside pages (width and height). 

14. Total number of inside pages. 

15. Total number of inside pages printed. 

16. Total number of inside pages blank. 

17. Inside stock (name of stock, size, weight 

and color if possible). 

18. Inside inks (state name of maker and 

reference number of each ink if pos¬ 
sible). 

19. Color for body text. 

20. Color for sub-titles. 

21. Color for running heads. 

22. Color for borders. 

23. Miscellaneous matter in color (state 

such as initials, bold face paragraphs, 
tint plate, etc.). 

24. Number and average size of line cuts. 

25. Number and average size of square 

finished halftones. 

26. Number and average size of outline 

halftones. 

27. Number and average size of vignette 

halftones. 

28. Size and style of type for body text. 

29. Number of main headings. 

30. Average number of words in main head¬ 

ings. 

31. Size and style of type for main head¬ 

ings. 

32. Number of sub-titles. 

33. Slip-sheeting (state if all matter or just 

what forms are to be slip-sheeted). 

34. Binding (state if saddle or side wire 

stapled or sewed in forms; also manner 
of attaching cover and method, if any 
of reinforcing binding). 

35. Wrapped and delivered in packages of 

(state number to a package and special 
wrapping if any). 


33 





34 


Building a College Annual 


36. Shipping directions (itemize quantities 

and destinations). 

37. No charge for extras will be paid unless 

approval on same has been obtained 
in writing. 

38. Proofs are to be submitted in duplicate, 

on strong paper that will bear pen and 
ink. Author’s charges for corrections 
must be itemized each time proofs are 
submitted. 

39. Printing is not to proceed until final 

proofs marked O.K. by us have been 
returned to the printer. 

40. Any special cuts, dies or drawings made 

for this work are to become our prop¬ 
erty and be delivered without extra 
charge when work is completed. 

41. Estimate to include (state whether ex¬ 

press or freight charges are to be in¬ 
cluded or not). 

42. Printer is to state below, or in letter 

accompanying estimate any sugges¬ 
tions for using different stocks, types 
or method of binding, together with 
reduced or increased prices for same. 

43. Name of Purchaser. 


AWARDING YOUR CONTRACTS 

# Sound judgment should be used when de¬ 
ciding on placing a contract. Do not place 
your work with the lowest bidder simply 
because he is the lowest. Find out why he 
is lowest and why others are higher. Nobody 
intends to give away something for nothing. 
The lowest bidder is in business to make 
money as well as the highest. Therefore don’t 
think you necessarily have the best of the 
bargain when you contract for price only. To 
make your book an artistic success you must 
have quality, to make it a financial success 
you must have service and to know that the 
invoices will be no higher than what you 
contracted for, you must seek a firm of re¬ 
sponsibility and reputation. 

Of course, such a firm will often times be 
the lowest bidder, when the work is complete 
altho at a glance their prices might seem higher. 
If you are having only firms who have a rep¬ 
utation bid for your contract, then some one 
of them necessarily has to be lower than the 
others, but 

The point we wish to make is that when 
placing a contract, quality , reputation and serv¬ 
ice should be taken into consideration as well 
as price. 


Place Your Contracts Early 

There is no real reason why the photog¬ 
raphy, printing and engraving contracts should 
not be placed early. There are many good 
reasons why they should. 

It is very important that the engraver 
and printer be given reasonable time in which 
to do their work. You cannot expect an 
attractive book that will sell readily unless 
time is given to produce good work. 

Just think of the satisfaction that you and 
the Editor will have, if two weeks or a month 
before School is over you can place your feet 
on your desk, and feel you’re all done. Oh 
Boy! “Its a grand and glorious feeling” that 
comes but once in a life time. 

Start early and experience it. Don’t allow 
yourself to be running in a hectic circle the 
last few days because you didn’t start early 
enough. 


Engraving Contract 

The Engraving Contract is the one which 
should be taken care of first. All engravers 
of national prominence or repute have a stand¬ 
ard scale of prices. As there is no deviation 
from this scale, all are on the same plane in 
the matter of price. 

The selective factor is therefore the service 
and personal touch which a particular firm is 
capable of rendering. The importance of this 
factor cannot be overestimated. The oppor¬ 
tunity for. any engraver to collect material 
and experience from managements of year 
books in the past is unlimited. It is therefore 
a question as to which is capable of presenting 
it in the most usable form. Most reputed 
houses are capable of supplying the engravings 
with very little delay; are, you might say on a 
par as far as that service is concerned. The 
selection, therefore must be based entirely on 
the service and personal help each firm is 
capable of giving. 

Of course art work and engravings must be 
ready before any printing can be done and 
that is one reason why the engraving contract 
should be first taken care of. 

Another reason why you should avail your¬ 
self of the engraver’s service. He will help 
you plan the book and give you valuable in¬ 
formation regarding printers and printing. He 
may save you costly mistakes. He knows 
how many pages, how many engravings, how 
much color work and what kind of printing 




Drawing Specifications—Awarding Contracts—Preparing Dummies 35 


and binding can be had for a given sum of 
money. He knows what size page is best 
suited for different purposes. He knows how 
photographs should be made to get best print¬ 
ing results. The average photographer under¬ 
stands the making of portraits, when the 
portrait is the finished result, but unless he 
has had experience in making photographs for 
reproduction he may fail, as far as making good 
pictures for an Annual is concerned. He 
had better be guided by the engraver’s advice 
because the engraver is constantly reproducing 
photographs and knows what will reproduce 
best. 

So do not fail to avail yourself of the serv¬ 
ice the engraver can give you. If you neglect 
this, you are only borrowing a lot of trouble 
for yourself that can be easily avoided. 

As before stated, the price of engraving is 
on a standard scale. Such a scale carrying 
instructions as to how prices may be com¬ 
puted will be furnished you by any engraver 
or the Arts Crafts Guild, Inc. 


The Printing Contract 

You will find considerable variation in the 
prices of printing. While reputable printers 
figure approximately on the same basis, there 
are many details entering into printing, the 
nature of which are such as to influence price 
to a great extent. 

It is very essential therefore, that you have 
your specifications very complete in such lan¬ 
guage as to leave no room for misunderstanding 
before taking bids. 

There is much to be said in favor of giving 
a local printer the contract, when he has a 
staff and plant capable of turning out a satis¬ 
factory book , because of the convenience the 
close touch will be to the Editorial Depart¬ 
ment while the work is progressing. 

However, service and reliability should be 
considered when choosing a printer and if 
there is no printer locally whom you can trust 
with your work, then of course it must be sent 
away. As a matter of fact, a printer who has 
an efficient organization, even though it is not 
in your locality, will give you better service 
than the local printer with a less efficient or¬ 
ganization. There are certain printers who 
specialize in college annual printing and your 
engraver or the Art Crafts Guild will gladly 
put you in touch with them. 


Purchasing Your Own Paper Stock 

In some cases it may be advantageous to 
purchase your own paper stock. When so, 
plenty of time should be allowed for delivery. 
At the time of this writing about six weeks 
would be ample. The paper situation is always 
subject to changes however, so it is best to 
look into conditions prevalent at the time. 

Of course if you will purchase your own 
paper stock, then it should be so stated in 
the printing specifications. 

Unless there is considerable financial ad¬ 
vantage in purchasing your own paper stock, 
however, it had best be left to the printer. 

When the printer purchases the stock, that 
is, when it is part of his contract, specify 
grade and weight such as Dill & Collins Black 
and White, 32x44—133, then of course he 
is responsible for its quality, delivery, etc. 
When you purchase it, however, then you 
are responsible. If the paper should not be 
thoroughly dry, but slightly green for instance 
and shrink during running, thereby affecting 
register of colors, you could not hold the 
printer responsible for poor work, because he 
did not purchase the paper. Neither can he 
be held responsible if delivery of paper is late. 
Therefore, as stated, unless there is much 
material saving of money to be affected by 
purchasing direct, you’d better let the paper 
be a part of your printing contract. 


The Binding Contract 

Another part of the work which may or 
may not be a part of the printing contract is 
the binding of the book. Many printers of 
unquestioned ability and reputation do not do 
their own binding. Even though their plants 
are large and equipped to handle all other 
phases of printing, they sublet their binding 
to concerns who make a specialty of it. Other 
printers do their own binding. Even though 
the printer you select may not do the binding, 
you may include it in his contract and make 
him responsible for it. In such case, he no 
doubt will charge you a profit for his services 
and for taking the responsibility. To that he’s 
entitled. 

On the other hand, you may let the binding 
contract separately. In that case, you hold 
the binder responsible and of course may save 
some money. The binding of a small book, 
which will have only soft paper covers can 
be handled by a printer of any consequence. 




36 


Building a College Annual 


It is only when the binding is in stiff covers, 
either leather, cloth or paper that this part 
of the work becomes a separate consideration. 

The binding of a large book—in the binding 
is included the cover design,—is that which 
determines the initial impression of the book. 
Consequently, the binding should be given a 
great deal of consideration, choice being made 
of the best material and workmanship you 
think you can afford. 

Your engraver or printer will be glad to 
furnish you with names of responsible binders. 
He should be capable of completing the work 
in the best quality of workmanship. He 
Must Guarantee Delivery. 

A Lump Publishing Contract 

Whether it is better to let the publishing, 
including printing, paper stock and binding, 
all in one contract is dependent upon locality 
and current conditions. 

A lump contract will cost somewhat more 
than subletting printing and binding and pur¬ 
chasing paper stock yourself, because the pub¬ 
lisher, in taking all the responsibility rightly 
feels he should be reimbursed for it. 

By subletting the various contracts you as¬ 
sume the risk of losses caused by delays in 
routing and dispatching. 

Generally the question of having the pub¬ 
lishing done as a lump contract should arise. 
If there is a local publisher big enough to 
handle the job, it is a good plan to give him 
the whole contract and so relieve yourself of 
the worry and risk of loss. 

However, if there is no local publisher, there 
is apt to be too big a difference in price, 
that is, it will pay you to assume the additional 
worry and risk. That is not always the case, 
but generally it is. 

It is to be understood that the engraving 
is seldom, if ever included in a lump publish¬ 
ing contract. Such a contract includes only 
printing, paper stock and binding. 

See That Your Contracts Are Binding 

When signing contracts be sure that the 
wording is such that the parties entering 
into them assume full responsibility for the 
work they are to perform, both as to quality, 
delivery and price. It would be well to enlist 
the co-operation of your Faculty Advisor in 
this respect, having him go over contracts 
thoroughly before they are signed. 


Preparing the Dummies 

Before preparing your dummies read care¬ 
fully Chapter V and VI of this book. The 
whys and wherefors of what follows here will 
then be more understandable. 


How to Make Up 

Knowing how your copy is handled in the 
print-shop and the importance of a correct 
dummy as a guide to the printer, we will study 
how to make up a dummy. 

The printer will furnish you two paper- 
bound dummies, and they should contain about 
ten pages more than you intend to have in your 
book. Order these as soon as you decide on 
the number of pages. 

The dummy is a guide for the printer to 
show what goes on each page in the book, i. e., 
the type articles, cuts, headings, borders, size 
and location of advertisements, etc. All copy 
to be set in type must be on sheets and not 
written in dummy, but each piece of copy and 
each engraving must have its proper place 
indicated in the dummy by letters and numbers 
hereafter explained. 

First: Number pages in both dummies con¬ 
secutively, in the upper righthand corner, with 
odd numbers on right-hand pages and even 
numbers on left-hand pages. As you make up 
dummy for the printer make a duplicate for 
yourself. 

Second: You have probably been furnished, 
or have made up yourself, a loose-leaf pre¬ 
liminary dummy so that you have a well 
defined idea as to just how your book is to be 
made up page by page. 

With this plan, begin with page I and mark 
plainly what you want to appear on this page 
in the printed book. It will probably be a 
title page or Ex Libris. 

Next take page 2. It may be a dedication 
portrait. Indicate by a pencil diagram on the 
page the size and shape of engraving and below 
the diagram write name or caption that goes 
in type if there be any such; if none, write 
“Engraving only, no type”, and give number 
of the engraving. Continue this page by page 
until every page in the dummy shows all and 
exactly what is to appear on that page when 
printed. Be sure and identify article and en¬ 
gravings accurately and plainly by numbers 
and titles. 





Drawing Specifications—Awarding Contracts—Preparing Dummies 37 


Styles of Pages 

As different styles of pages will appear in 
your book they must be properly indicated in 
the dummy, so we give some examples. 

a. Blank pages—simply mark blank page 
in dummy. 

b. Page with engraving but no type or 
printed matter of any kind. Draw a diagram 
on the page giving the approximate size of 
engraving, and in the diagram mark “Half¬ 
tone” or “Zinc Etching” of and give the num¬ 
ber and a short description of the illustration, 
just enough so the printer can easily identify 
it—such as “Group of 18 boys”; “Building 
3 story with porch in front”; “Cartoon of 
girl with tennis racquet”. 

c. Page with engraving and a title under 
the illustration. Draw diagram giving size and 
shape of engraving. In the diagram give num¬ 
ber and short description of the picture, and 
under the diagram write the title that goes 
under it in type. 

d. Page with one or more illustrations com¬ 
bined with printed matter. First, draw dia¬ 
gram showing size and position on the page of 
cut or cuts and in each write number and 
description of engraving. In the blank space 
at sides or top or bottom of cuts give title of 
the printed matter, using same title as used 
on copy for printer. 

e. Panel pages. Draw diagram of panel 
indicating space occupied by each individual 
and write plainly the individual name in the 
space his portrait occupies. At side write the 
name again and indicate by pencil lines about 
the number of lines of type matter in his 
write-up. 

f. Pages all type matter. Write on page 
“No engraving, all type”, and give exact title 
of the article as it is in printer’s copy. If 
article continues over to next page, mark “ Con¬ 
tinued” and give the title again. 

g. Advertising page. Draw diagram and 
divide the page up into spaces exactly as sold. 
Full page, half, quarter or eighth page, -and 
write the advertiser’s name carefully and plain¬ 
ly spelled in his space. If a cut goes in an ad¬ 
vertisement, write “Cut of shoe”, “Cut of 
stove”, or whatever it may be in the space 
and give the number of the cut you have 
marked on the cut itself. 


Inserts 

Color Pages, Book Section Titles, Tips, Fra¬ 
ternity Emblems and all other pages or inserts 
that are different in any way from the standard 
pages, should be indicated by a sheet in dummy, 
On the sheet give a careful description of the 
illustration, tell number of colors, size and any 
other information that will give the printer a 
clear understanding of what is wanted. If 
a different kind of paper is to be used for the 
insert, get from the printer a sample page size 
of the paper selected and use it for dummy. 
These insert pages are not printed with the 
regular book pages, so do not give them a 
folio or page number. (Note inserts in this 
book opposite pages, 8, 36, 53, 100, 118). 


Border and Head and Tail Pieces 

Where border or head and tail pieces are 
to run throughout the book, it is not necessary 
to indicate them on every page. Indicate such 
on first page in dummy where it appears and 
say, “This border or head and tail piece goes 
on every page” and give special instructions 
as to color of ink, etc. that may be necessary. 


Estimating Space Required 

The number of pages a certain article will 
occupy can be estimated fairly accurately by 
counting the words. Select the style page you 
like and count the number of words in your 
copy to same space. It will,of course, be neces¬ 
sary to count the number of lines to the page 
as well as the number of words to a line. See 
Chapter VI for further instructions on how 
to estimate space. 


Oversize Engravings 

One important item in the preparation of a 
dummy is to keep all type matter and all en¬ 
gravings absolutely within the limits of the 
specified type page measurements. For in¬ 
stance, if a type page be 5 inches wide and 8 
inches high, an engraving, the face of which 
would be 5 inches wide, could not be con¬ 
tained in that space because of the extra 1-8 




38 


Building a College Annual 


inch on each of the four sides of the block. 
For this reason the engraving should be ordered 
5 inches wide instead of inches. Editors 
often expect the printer to embody in a type 
page of dimensions say, 5x8 inches, a halftone 
of full page size and a page title to go above it, 
as well as a legend or descriptive title in type 
to go underneath. This, of course, is plainly 
impossible. It makes trouble and surely de¬ 
lays the work of the printer, who must charge 
for the time required in the lock-up depart¬ 
ment where the other 15 pages in the 16 page 
form must be built up to correspond with the 
oversize page in order that the one page too 
large may be “locked up” in the form, and 
the appearance of such a page is miserable 
and reflects discredit on the Editor-in-Chief 
as well as on the printer. 


Page Headings 

Page headings that do not run throughout 
the book should be specified roughly by means 
of a pencil line across the top of the diagram 
of the page, and above such line should be 
written the number of the original zinc etch¬ 
ing, repeated for each page on which it is to 
appear. Such designation causes the Editor- 
in-Chief but little trouble and will indicate 
plainly to the printer on just what pages it is 
desired to have the page headings appear. 


Editing Dummy 

The dummy should be given just as careful 
editing by the Editor-in-Chief, after its com¬ 
pletion, as the copy. When the Editor-in- 
Chief is thoroughly satisfied that both the copy 
and the dummy are perfect, and that they cor¬ 
respond one with the other, to the last detail, 
he is ready to forward his copy and the dummy 
to the printer, never before. It is a doubly 
safe precaution to send to the printer one set 
of the engraver’s proofs, on each of which the 
Editor-in-Chief has marked, and afterward 
checked, the number, the page on which it 
appears, and the name or the title, if any. No 
Annual was ever printed in which some little 
error did not creep in. This method of send¬ 
ing the engraver’s proofs to the printer will 
bring the possibility of such errors to a mini¬ 
mum hardly appreciated by the Editor-in- 
Chief unless he has served before in such capac¬ 
ity. 


The Dummy in the Bindery 

In the bindery, as well as in the print shop, 
the dummy is of great importance. After the 
type is all set and corrected, paged, revised, 
locked up into forms and sent to the press 
room, the dummy is passed on to the bindery, 
where it is the only guide to the book binders 
in the placing of inserts. If the Editor-in- 
Chief has failed to follow these instructions, 
he will probably find the inserts missing, no 
matter how carefully specified in the contract. 

The position of each insert, whether it be 
steel engraving, photogravure, photograph, 
color print, or sub-title on paper of different 
color, must be given careful attention. The 
printer requires that a leaf be tipped with 
library paste or mucilage into the dummy at 
the exact place where any insert is to appear 
in the bound book. Never use one of the num¬ 
bered leaves of the regular dummy to repre¬ 
sent an insert. On this leaf should be, on the 
side representing the printed side, the descrip¬ 
tion and a statement to the effect that this 
insert is to face page 00. Always remember 
that an insert must come between an even 
numbered page preceding and an odd num¬ 
bered page following it. It would be ridiculous 
to try to place an insert, for instance, between 
pages 1 and 2. 


Postage 

Sometimes postmasters in smaller towns do 
not thoroughly understand the government 
provisions for handling proofs and manuscripts. 
Manuscript is first class matter when it is sent 
by itself. Proofs and author’s manuscripts 
are third class matter, but new manuscript 
cannot be sent in the same package as old 
manuscript and proof for the old manuscript. 
New manuscript should be sent separately 
with first-class postage. Any letter connected 
with proofs or old manuscript should be sent 
separately, first-class. Corrections and in¬ 
structions to printer can be made on proof 
sheets and paragraphs added or taken away 
from the manuscript, but a new article or a 
new chapter of manuscript would subject the 
entire package containing it to first class post¬ 
age.. For the ordinary return of proofs and 
original manuscripts connected with such proof, 
the rate is third class. 

Correction of proof sheets may embrace the 
alterations of the text or insertion of new mat¬ 
ter, as well as the correction of typographical 




Drawing Specifications Awarding Contracts—Preparing Dummies 


39 


and other errors, and also any marginal in¬ 
structions to the printer necessary to the cor¬ 
rection of the matter or its proper appearance 
in print; such corrections should be upon the 
margin of, or attached to, the proof sheets. 
Manuscript of one article may not be included 
with proof or corrected proof sheets of another. 


Advertising Dummy 

After all copy is in, an advertising dummy 
is made up under the direction of the adver¬ 
tising assistant. Engravings which are to ac¬ 
company the advertisements are numbered 
consecutively and thus made up in the adver¬ 
tising dummy. 

Since it is easier to sell advertising when the 
merchants are told that some art or humor 
will be distributed throughout the advertising 
section, endeavor to employ a few cartoons or 
pictures. 

The first page of the dummy should be an 
Advertising Section heading. For the next 
few pages it is well to use full page ads, all 
larger advertisements before the quarter and 
eighth page ads. Caution should be employed 
in not placing the advertisements of like busi¬ 
nesses adjacent to each other. 


Copy secured from advertisers is pasted in 
the dummy in the order that it is to be run, 
the numbers of cuts being recorded on the 
copy. An advertising index is made for the 
last page of the section. 

When the advertising dummy is completed 
each page is cut out, placed in a separate en¬ 
velope and sent to the printers along with the 
necessary engravings. When the two proofs 
of each page come back from the printers each 
advertiser is sent the proof for his advertise¬ 
ment with the request to correct, approve, and 
return it at once. After all proof has been 
returned from the advertisers another dummy 
is made up, and this time the page proofs 
pasted in on each page. Great care is exer¬ 
cised in order that no mistakes may appear 
on this copy. An advertiser may not pay if 
his advertisement is not correctly handled. 

Corrected proofs are sent to the printers. 
If there are mistakes on the next proofs re¬ 
ceived from the printers, they are corrected 
by the Editor or Business Manager and again 
returned until the advertising section is abso¬ 
lutely correct in typography. 

Having drawn up specifications, awarded 
contracts and prepared your dummies, you 
are now in position to go after the detailed 
work of your Annual in earnest. 







CHAPTER V 

PRESS WOR K —I N K---P RINTERS’ 

TERMS 


Presswork 

The principal factor in good presswork is 
time. No really good work can be done in a 
hurry. It is safe to say that over half of the 
College Annuals printed are put through in a 
hurry because of the delays and troubles of 
the Editor-in-Chief or some of his assistants. 
The only positive assurance of a good-looking 
Annual, with proper typographic arrangement, 
good printing and fine binding, is to give the 
printer ample time in which to do his work 
right. The “make-ready” is a most interest¬ 
ing process to watch. To make ready a form 
of 16 pages, containing the usual run of half¬ 
tones and etchings, requires a half day of a 
press worth three to six thousand dollars, a 
high priced pressman and two assistants. No 
matter how well the work may have been done 
in the engraving plant, each engraving, espec¬ 
ially a halftone, requires the use of tissue 
paper pasted on in layers underneath the block, 
or sometimes, if the engraving be a thousandth 
of an inch too high, sandpaper must be brought 
into use to bring the block down to type-high 
measurement, which is .9166 inch. The test 
of a good engraving from the pressman’s point 
of view, is that the engravings will be on thor¬ 
oughly seasoned wood which will not shrink 
in dry weather. Halftones are now-a-days 
etched very deeply by good engravers so that 
the printing is clear. The blocks must be 
trimmed absolutely square in order that the 
lock-up may remain solid. It is much cheaper, 
from the financial point of view, for the printer 
to have strictly high grade engravings than 
poor ones not square and not type high. 

The pressman takes proof-sheets from the 
press at frequent intervals during the process 
of the “make-ready”, and when the form suits 
him, the final press proof-sheet is shown to the 
superintendent who determines as to whether 
the press work shall proceed or further “make- 
ready” be needed. Thus one may readily 
understand why rush work in the pressroom 
means work approaching in poor quality that 
appearing in the cheap magazines, whereas 
ample time will give the very best possible 


appearance to the haltone printing, clearness 
to the type and etchings; in short, a high grade 
piece of work. This in itself should be a suffi¬ 
cient inducement to the management of an 
Annual to get copy away in ample time for 
really good work. We have in mind at the 
moment an Annual for a leading State Univer¬ 
sity, the contract for which the printer ac¬ 
cepted, with seven weeks’ time in which to 
complete the work. The printer had prepared 
his bindings in advance, bought paper and 
some special “sorts” for the job, and could 
not drop it when the copy came in ten days 
before commencement. The result was nat¬ 
urally appalling, a disgraceful job for the print¬ 
er to turn out, and one which surely reflected 
no credit on the management whose names 
appeared in the front of the book. 


Printing Ink 

The subject of ink must be given intelligent 
consideration. The engraver always urges the 
best of black halftone ink to be used on pure 
white paper. All machine catalogs in which 
fine detail of parts is to be uppermost are 
printed on pure white enamel paper of a high 
quality and fairly good thickness. A great 
majority of the Annuals are printed with black 
ink on white enamel paper. A few appear in 
some one of the many beautiful brown inks 
on cream colored or India paper. This costs 
more because of the fact that brown ink of 
sufficiently good quality is much higher priced; 
the India paper costs more, and the ink is 
much harder to run, requiring perhaps fifty 
per cent more time than the black ink. The 
very dull finished papers which are so popular 
for some kinds of high class printing are still 
more expensive, and the ink required for use 
on them, together with a double amount of 
“make-ready” and the frequent stops of the 
press for the purpose of washing out with 
benzine all the engravings, on account of the 
ease with which they fill up with the double¬ 
tone ink, brings the cost of this sort of press 
work to two or three times that of the black 


41 



42 


Building a College Annual 


ink on white. Then, too, all photographs will 
not make halftone plates of the proper har¬ 
mony to work nicely on this sort of paper with 
the peculiar ink required. 

The so-called duotone, or doubletone inks 
come in a number of shades of handsome brown 
and greens for practical printing. We will not 
consider the blues and purples here. No print¬ 
er can guarantee to make the shade of color 
the same in one book as appeared in another, 
or to get exactly the same shades at both ends 
of any book. It is a long story why such 
matching is impossible. The ink is made of 
two antagonistic materials, color ground in 
varnish and color mixed with water. The re¬ 
sult desired is an imitation of a photograph or 
of a photogravure. The water mixture makes 
the trouble. An ink-maker of international 
reputation and a certain well-known printer 
recently combined for a series of experiments. 
Without entering into details we will state that 
some of the startling results were as follows: 

The printer used the same press, the same 
engravings, the same paper and the same ink 
from the same run of ink at the factory. But 
impressions made on a damp day differed quite 
materially in shade from those on a dry day. 
Sheets on the bottom of a pile only one inch 
high racked in slipsheets differed in shade from 
those on top because of the weight on the slip- 
sheet, causing it to act as a blotter. 

Dampness, heat and pressure affect the re¬ 
sults in these inks, now so popular for the very 
highest class of printing. The ink does not 
attain its final color until ten to fifteen days 
after printing. Notwithstanding the utter im¬ 
possibility^ exact matches in shade, the work 
produced is magnificent, the very finest pos¬ 
sible, and much sought after. 


Slip Sheeting 

We quote here from papers copyrighted in 
1912 by the Champlin Printing Co. 

“The question is often asked, ‘Why does 
this or that engraving not appear as well in 
the book as the engraver’s proof?’. The en¬ 
graver proves one engraving at a time, after 
the most careful “make-ready” and with ink 
costing much more than printer’s ink, thus 
bringing out the individual halftone to the 
very best possible advantage. When this same 
engraving is put into a form with a lot of other 
engravings, some of which are dark and require 


a minimum of ink in the printing and some^of 
which are light and require a maximum of ink 
to bring them out best, there must be an equal¬ 
izing of the volume of ink. This works to the 
disadvantage of some of the engravings. The 
best general result is attained by slip-sheeting 
(slipping sheet of blank paper between printed 
sheets as they are printed) whereby a heavier 
flow of ink is made possible. This adds to the 
cost of press work, but is well worth it”. 

The printer should slip-sheet every form in 
a College Annual if there be time. He is thus 
enabled to use a high-grade ink which requires 
at least two days of good dry weather in which 
to dry in the drying racks. For a rush job he 
simply uses a cheaper ink, mixing with it some 
dryer, omits the slip-sheeting and gets through 
in the time allotted. 


Printer’s Terms 

Author’s Changes: Additions to or changes 
from your original copy sheets after type has 
been set. An extra charge is made for such 
changes. 

Blank Stamping—Blind Stamping: A book¬ 
binding term referring to the results obtained 
by heating the cover stamp and burning the 
design into the leather on the same order as 
branding a steer. 

Book Inserts or Book Division Inserts: A spe¬ 
cial series of illustrations, introducing various 
sections of a book, such as the Classes, Organi¬ 
zations, Athletics, etc. Usually printed on 
colored cover stock and in more than one color 
of ink. 

Captions: One or two descriptive lines of 
type appearing under each engraving. 

Copy: Any manuscript or material of any 
sort to be set in type is “copy” for the printer. 

Dummy: The plan of the book, page for 
page. (See article on Dummy). 

End Sheets: Double leaves of heavy cover 
paper, one leaf being glued to inside of cover 
for lining, the other becoming the fly leaf. 
An end sheet is glued to both front and back 
cover and there is a fly leaf in both the front 
and the back of the book. 

Fly Leaf or End Sheets: Blank leaves of 
paper in front and back of book. 




Press work — Ink — Printer's Terms 


43 


Folio: The page number. The left-hand 
page is always an even number and the right- 
hand page is always an odd number. 

Form: Usually consists of 8 or 16 pages, 
as this is the number of pages printed on a 
press at a time. 

Galley Proof: Proof of type matter just 
as it comes from the typesetting machines. 
Galley proofs are made in long strips without 
any spacing or display headings. 

Insert: A leaf (2 pages) separate from the 
ordinary leaves of the book. It must be glued 
into the binding edge of the book instead of 
being sewed. Any single leaf printed on special 
stock must be inserted in this way. 

Page: One side of leaf in book. One leaf 
is two pages. 

Page Proof: The final proof sent the Editor, 
showing exact arrangement of type and cuts. 
It is not a sample of paper or presswork. 


Pebbling: A process whereby the regular 
enamel paper is run under an engraved steel 
roll and a pebbled or roughened effect secured. 

Section or Signature: Usually a unit of 16 
consecutive pages, as pages are folded in 16 
page sections. Sometimes refers either to 4, 
8 or 12 consecutive pages. 

Semi-Flexible Binding: A style of binding 
on which the cover material is glued to a thin, 
heavy board. 

Stiff Binding: A style of binding on which 
the cover material is glued to a thick, heavy 
board. 

Tip: An illustration, smaller than the page, 
affixed by pasting on one edge to an insert or 
page. 

Bleed: An engraving made larger than the 
page so as to leave no white showing. Requires 
larger paper and special lockup. 






44 


Building a College Annual 


8 point Oldstyle solid 

As we go out from this institution to accept positions 
of more or less responsibility, we should make it an iron¬ 
clad rule, that no matter where we land, we should always 
give the very best there is in us: to be enthusiastic about 
our work and to always do more and better work than we 
are actually paid to perform. 

Officers 

Carl G. Giffi .... President 
Leon W. Miller . . . Vice-President 

8 point Oldstyle leaded with 2 point leads 

As we go out from this institution to accept positions 
of more or less responsibility, we should make it an iron¬ 
clad rule, that no matter where we land, we should always 
give the very best there is in us; to be enthusiastic about 
our work and to always do more and better work than we 
are actually paid to perform. 

Officers 

Carl G. Giffi .... President 
Leon W. Miller . . . Vice-President 

10 point Oldstyle solid 

As we go out from this institution to accept 
positions of more or less responsibility, we 
should make it an iron-clad rule, that no mat¬ 
ter where we land, we should always give the 
very best there is in us; to be enthusiastic about 
our work and to always do more and better 
work than we are actually paid to perform. 

Officers 

Carl G. Gaffi . . President 

Leon W. Miller . Vice-President 

10 point Oldstyle leaded with 2 point leads 

As we go out from this institution to accept 
positions of more or less responsibility, we 
should make it an iron-clad rule, that no mat¬ 
ter where we land, we should always give the 
very best there is in us; to be enthusiastic about 
our work and to always do more and better 
work than we are actually paid to perform. 

Officers 

Carl G. Gaffi . . President 

Leon W. Miller . Vice-President 

12 point Oldstyle solid 

As we go out from this institution to 
accept positions of more or less respon¬ 
sibility, we should make it an iron-clad 
rule, that no matter where we land, we 
should always give the very best there 


8 point Modem solid 

As we go out from this institution to accept posi¬ 
tions of more or less responsibility, we should make 
it an iron-clad rule, that no matter where we land, we 
should always give the very best there is in us; to be 
enthusiastic about our work and to always do more 
and better work than we are actually paid to perform. 

OFFICERS 

Carl G. Giffi . . . President 

Leon W. Miller . . Vice-President 

8 point Modem leaded with 2 point leads 

As we go out from this institution to accept posi¬ 
tions of more or less responsibility, we should make 
it an iron-clad rule, that no matter where we land, we 
should always give the very best there is in us; to be 
enthusiastic about our work and to always do more 
and better work than we are actually paid to perform. 

OFFICERS 

Carl G. Giffi . . . President 

Leon W. Miller . . Vice-President 

10 point Modem solid 

As we go out from this institution to accept 
positions of more or less responsibility, we 
should make it an iron-clad rule, that no mat¬ 
ter where we land, we should always give the 
very best there is in us; to be enthusiastic about 
our work and to always do more and better 
work than we are actually paid to perform. 

OFFICERS 

Carl G. Giffi . . President 

Leon W. Miller . Vice-President 

10 point Modem leaded with 2 point leads 

As we go out from this institution to accept 
positions of more or less responsibility, we 
should make it an iron-clad rule, that no mat¬ 
ter where we land, we should always give the 
very best there is in us; to be enthusiastic about 
our work and to always do more and better 
work than we are actually paid to perform. 
OFFICERS 

Carl G. Giffi . . President 

Leon W. Miller . Vice-President 

12 point Modem solid 

As we go out from this institution to 
accept positions of more or less respon¬ 
sibility, we should make it an iron-clad 
rule, that no matter where we land, we 
should always give the very best in us; 





CHAPTER VI 


STYLE OF TYPE-COMPILING TEXT¬ 
ED I T I N G—P ROOF READING 


CHOOSING STYLE OF TYPE 

Before the printer starts on an Annual a 
style of type and make-up must be determined 
and the agreed style must be followed through¬ 
out the book to get a harmonious and pleasing 
effect. 

There are certain fundamental rules to be 
followed in book building, but there is a wide 
variety of type faces and styles of composition 
and what appeals to one person may not so 
well suit the taste of another. 

As the average Editor is unacquainted with 
the technique of the print shop and knows little 
of the different styles of type and the use to 
which they are particularly fitted, he will come 
nearer getting satisfaction by selecting an An¬ 
nual that appeals to him and tell the printer 
to follow the style of the book selected both 
in type face and arrangement of the type pages. 

If a certain Annual is selected for general 
style and there are pages or features in another 
book that seem desirable, the printer can be 
instructed to refer to both or several books 
and make such changes in particular pages as 
will not interfere with the harmony or artistic 
arrangement of the completed book. 

Care should be taken, however, in this in¬ 
stance to specify clearly on each sheet of copy 
paper thus; “style same as pages 122, 123 of 
Blank Annual”. 

This is slow, tedious work, but must be done 
right, unless change of style, extra time, re¬ 
setting whole pages or re-paging whole parts 
of a book are to be reckoned with. The ex¬ 
pense of such changes of style after type set¬ 
ting has been completed is much greater than 
the cost of the original composition. Straight 
matter, historic or descriptive, should, wher¬ 
ever it appears in the book, be uniform in 
both face and size of type. 


Type Sizes 

Some faces of type will admit of more words 
to the line and page than others. 

The larger the type face the fewer the num¬ 
ber of words to a given surface in the printed 


page. The smaller the type face the greater 
the number of words. 

No printer carries in his composing room 
all faces of body type. Usually two or three 
“families” of type are carried. For instance, 
the Old Style face in 12 or 11 point for descrip¬ 
tive and historic records; in 10 or 8 point for 
athletic records, etc., and in 8 or 6 point for 
legends, titles or descriptive matter under in¬ 
dividual portraits or other illustrations. 

Historical, descriptive and literary matter 
appear to much better advantage if set in 11 
point face than if set in 10 point or 8 point. 
The large type for such matter gives the book 
the air of dignity and elegance. Individual 
write-ups, athletic and other records appear 
better in the smaller faces. 

Type Faces 

For the purpose of making intelligent com¬ 
parison of type, we here submit a few lines of 
Old Style and Modern faces, set in several 
sizes of type, solid and leaded 2-points. Notice 
should be taken that in some of the preced¬ 
ing examples, capitals, small capitals and 
italics appear, as well as the Roman body type 
of capitals and lower case. (See illustration 
page 44.) 

Position of Printed Page 

The subject of typography should not be 
left without a word in regard to the position 
of the type page on the paper page. This is a 
matter that should be left to the judgment of 
the printer, who knows the rules for the posi¬ 
tions better than the layman. There are cer¬ 
tain rules, one of which is quite common, viz.: 
that the margin at the bottom of a page should 
be more than that at the top, and the outer 
margin should be equal to that of the inner. 
This rule applies well to many forms of book 
printing, but does not apply to all forms. 
Some books appear better with the type mat¬ 
ter practically centered in the page, while 
some appear correct when centered from top 
to bottom, but with a little more space in the 
outer margin than in the inner. 


45 



4 6 


Building a College Annual 


COMPILING TEXT 

In preparing your manuscript for the printer, 
use paper of uniform size, about 8f£xii inches. 
Your printer will doubtless be glad to furnish 
you with copy paper of this size. All copy 
should be typewritten, double spaced and ap¬ 
pear on one side of the paper only. Make a 
carbon copy of all manuscript to retain for 
reference purpose. Allow a generous margin 
of about iinches on the left hand side, and 
about one inch at the top. Be sure your copy 
is free of errors before sending it to the printer. 
If the original manuscript has been heavily 
interlined it should be rewritten and care taken 
to see that the interlineations are written into 
their correct places in the body of the text. 

Care must be taken that the amount of copy 
prepared will fit the space for which it is in¬ 
tended. Measure carefully each page and de¬ 
termine the amount of space occupied by the 
various sizes of type faces such as are commonly 
used in setting up the text of school publica¬ 
tions. 


Estimating Space Required 

The task of estimating the number of pages 
required for a certain amount of manuscript, 
to be set in a certain size of type page, is quite 
a mathematical problem, but is fairly soluble. 
The ordinary page of 28 lines of typewritten 
copy averages 12 words to the line and 336 
words to the page. The Editor-in-Chief can 
easily learn how many words he will allot to 
a certain department. He should then find 
a College Annual style of type and composi¬ 
tion from which he may average, by counting 
twenty-five to fifty lines, the number of words 
to a line. Dividing this average number of 
words to the printed line into the total number 
of printed lines on a page, the number of words 
required to the page will be known. Or with 
a ruler he can ascertain the average number of 
printed lines contained in an inch, up and 
down of the printed page, from which he may 
quickly estimate the number of printed pages 
or portions of pages (the engravings and sub¬ 
heads being carefully considered) will be re¬ 
quired in the finished book for the article or 
section in question. “Boiling down” is often 
necessary to hold the copy to the space avail¬ 
able. In estimating by counting words, each 
part of a line must be considered as a full line, 
both in copy and in printed page. The same 
in reference to a sub-head. 


Leading, or spacing between lines of type, 
improves the appearance of the type and makes 
the reading easier. This, however, is done at 
the expense of the space occupied. The plac¬ 
ing of 2-point leads (1-32 inch) between 12 
point type will admit of only about 85 per cent 
as many words to the page as the 12-point 
solid would contain; in 10 point type, about 
83 per cent; in 8 point, about 78 per cent; and 
in 6 point, about 75 per cent. Inasmuch as 
Annual articles are usually short, occupying 
only one or two pages, it is considered better 
form to use the leaded style of typesetting, 
thus insuring better appearance and more ease 
in reading. 

Great care must be used in estimating the 
number of words intended for a certain page 
or space in the book. If you have any reason 
to think that the amount of copy is too great 
to go in the allotted space, it will be well to 
mark certain parts of the copy and give the 
printer permission to leave out as much as is 
necessary to keep in the space. A memoran¬ 
dum to this effect should be attached to the 
copy. 

The following table showing number of words 
of various size types to the square inch will be 
of value to you when comparing the amount 
of text matter with the number of words to 
your page. 

Table showing Number of Words to Square 
Inch. 


Sizes of type solid 


Sq. In. 

6 Pt. 

8 Pt. 

10 Pt. 

12 Pt. 

1 

47 

32 

21 

14 

2 

94 

64 

42 

28 

4 

188 

128 

84 

56 

6 

282 

192 

126 

84 

8 

376 

256 

168 

112 

10 

470 

320 

210 

140 

12 

564 

384 

252 

168 

H 

658 

448 

294 

196 

16 

75 2 

512 

336 

224 

18 

846 

576 

378 

252 

20 

940 

640 

420 

280 

22 

1034 

704 

462 

308 

24 

1128 

768 

504 

336 

26 

1222 

832 

546 

364 

28 

1346 

896 

588 

392 

30 

1410 

960 

630 

420 

32 

1504 

1024 

672 

448 

34 

1598 

1088 

714 

476 

36 

1692 

1152 

756 

504 

38 

1786 

1216 

798 

532 

40 

1880 

1280 

840 

560 





Choosing Style of Type—Compiling Text•—Editing and Proof Reading 47 


Sizes of Type Leaded with Two Point Leads 


Sq. In. 

6 Pt. 

8 Pt. 

10 Pt. 

12 Pt. 

1 

34 

23 

16 

11 

2 

68 

46 

32 

22 

4 

136 

92 

64 

44 

6 

204 

138 

96 

66 

8 

272 

184 

128 

88 

10 

340 

230 

160 

no 

12 

408 

276 

192 

132 

14 

476 

322 

224 

154 

16 

544 

368 

256 

176 

18 

612 

414 

288 

198 

20 

680 

460 

320 

220 

22 

784 

506 

352 

242 

24 

816 

552 

384 

264 

26 

884 

598 

416 

286 

28 

952 

644 

448 

308 

30 

1020 

690 

480 

330 

32 

1088 

736 

512 

352 

34 

1156 

782 

544 

374 

36 

1224 

828 

576 

396 

38 

1292 

851 

608 

418 

40 

1360 

874 

640 

440 


EDITING AND PROOF READING 

After the editor has outlined the entire book, 
divided the work up among the members of 
his staff, made his assignments for special feat¬ 
ures, stories, etc. and planned his dummy from 
cover to cover, he finds that his real work is 
only beginning. As the copy commences to 
come in it will be his duty, of course to edit 
it and get it ready for the printer. This duty 
involves the responsibility for the correction 
of all grammatical errors, the indicating of 
paragraphs, and for correct punctuation, capi¬ 
talization and spelling. Make such changes 
in the copy as you deem necessary, lightening 
the text wherever possible by substituting sim¬ 
ple words for ponderous ones and eliminating 
all ambiguous statements. Do not be afraid 
to use the blue pencil whenever you consider 
it necessary for the best interest of your book. 

In many schools there is a faculty member 
of the staff whose duty it is to make or suggest 
changes in the copy. If you have such a mem¬ 
ber on your staff, be sure and have this party go 
over all the copy before it goes to the printer, 
and make all changes at that time. Be very 
careful to see that all copy is correct as to ar¬ 
rangement, spelling, punctuation, etc. All 
type matter for Annuals is generally set on 
linotype machines, which cast a full width of 
type in one slug of metal, so that the slightest 


change, such as inserting or taking out a punc¬ 
tuation mark, etc., will require the resetting 
of the entire line, and adding or taking out 
a word often necessitates resetting one or two 
lines following. The printer will, of course, 
correct his own mistakes without charge, but 
any material changes from the original manu¬ 
script will be charged for as extra composition. 

In your final revision of copy, there are 
many things that must be watched. Be sure 
that paragraphs are indicated clearly. If the 
author has not given proper attention to the 
subject of paragraphing, go over his copy and 
indicate the beginning of paragraphs by the 
use of the symbol (^f). Titles of articles, sec¬ 
tions, etc. should be underlined, as should all 
passages which require emphasis. 

Inserts of less than one line may be written 
between lines, using a caret (a) to show where 
it should be inserted. Longer inserts should 
be written on a separate sheet, indicating 
clearly the place for its insertion. Titles of 
stories, etc. should be written on the manu¬ 
script copy and also in the dummy at the 
proper place. Lay the typewritten sheets in 
their proper places in the dummy, but do not 
paste them in. 

As soon as you have planned as many as 
eight or sixteen pages, according to the number 
the printer will run on his press at one time, 
and have the plates and the copy ready, give 
them to the printer and let him start his part 
of the work. By dividing your book up into 
sections in this manner, you can keep the 
work going all the time. While the printer is 
getting out the first section you can be writing 
the copy and the engraver can be making the 
plates for the second section, and so on. Quite 
often you can arrange a view section of six¬ 
teen pages, showing pictures of the campus, 
buildings, etc. These pictures can be sent 
early to the engraver and as soon as the plates 
are received they may be delivered to the 
printer. If this system is carried out you will 
not be rushed at the last moment, and you will 
obtain better work in every way. 

The printer’s proofs will be submitted to 
you in page form and will show the arrange¬ 
ment of the type matter and cuts. These 
proofs are always read for errors by the printer 
and mistakes corrected before the proof sheets 
are given to you. However, you should go 
over each page very carefully giving parti¬ 
cular attention to the spelling, punctuation 
and capitalization. Make any necessary cor¬ 
rection in the margin of the proof sheet, draw- 




4 8 


Building a College Annual 


ing a line from the item to be corrected out 
into the margin. We give in this Chapter 
a few of the most commonly used marks for 
proof reading. It will simplify matters for 
the printer if you use these marks, however, 
any correction which clearly indicates that a 
change is to be made will be heeded. 


PROOF READERS’ MARKS 

C^L. dele) Dele, or Delete; take out, or 
expunge. 

<3 Turn a reverse letter. 

jl . A space, or more space, between words, 

'' letters, or lines. 

'''N O Less space, or no space, between words 
or letters. 

Carry a word farther to the left or to 
the right. 

□ Indent. 


n Elevate a letter, word or character that 
is sunk below the proper level. 

('J Sink or depress a letter, word, or charac¬ 
ter raised above the proper level. 

1 Shows that a portion of a paragraph 

* projects laterally beyond the rest. 

^ Direct attention to a quadrat or space 
which improperly appears. 

Directs attention to a broken or im¬ 
perfect type. 

£* Bring a word or words to the beginning 
of a line. 


=• Straighten (a crooked line or lines). 


f 


Print as a diphthong, ligature, or single 
character; thus, se, fi. 

Make a new paragraph. 

Put in Italic; also, change according to 
the mark in the margin, as from Italic 
to Roman, or from Roman to Italic. 


== Put in small capitals. 

==■ Put in capitals. 

stet Restore or retain words which have 
been crossed out. 


wf Wrong font;—used when a character is 
of a wrong size or style. 


tr Transpose. 

1 , c. Lower case; that is, put in small, or 
common letters, a word or letter that 
has been printed in capitals or small 
letters. 

s caps or sm. c. Put in small capitals. 

? Query; is this right? 

Out, s. c. Words are omitted, or are wanting, 
see copy. 


A FEW OF THE MOST COMMON MARKS FOR PROOF 
READING FAMILIAR TO ALL PRINTERS. 


Markings for Special Type 


In preparation of copy, care should be taken 
to specify by the usual simple markings the 
exact size and style and type to be used. 


For sentences and words desired in Italics, 
a single straight line should be drawn under 
each word desired to be so set thus: Art 
Crafts Guild , Inc . 


Should small capitals be desired for names, 
any such copy should be underscored twice,, 
thus: Art C raft s Guild . In£. 


Should CAPS and Small Caps be desired 
there should be an extra third line under the 
capitals, thus: Art Crafts Guild . Inc. 


For CAPITALS, used for headings only, 
three distinct straight lines should be drawn 
under each word to be set so thus: Art Craft s 
Guild . Inc . -- 


For Bold Face Type a single wavy line should 
be placed under each word to be set bold, thus: 
Art Crafts Guild . Ing. If BOLD CAPITALS 
are desired, draw three wavy lines under such 
words, thus: Art Craft s Guild , Inc . 


Unless markings mentioned above be made, 
the entire typesetting will be done in ordinary 
capitals and small letters (lower case). It is, 
therefore, very important that a carefully stud- 
ied-out system be settled upon before the copy 
is sent to the printer. Where pages in certain 
books are cited as examples, the Editor-in- 
Chief would be spared the trouble of tediously 
marking each word intended for anything 
other than capitals and lower case type. Or, 
if you desire, this matter may be left to the 
printer’s judgment. 







Choosing Style of Type—Compiling Text—Editing and Proof Reading 49 


PRINTERS’ COPY 

Legibility 

Legible copy is absolutely necessary, and in 
order to secure this we urge that everything 
be typewritten. You will readily understand 
the reason for this. 

Wages of type setters and machine operators 
are high, and during the short season in which 
Annuals are printed delays in receipt of copy 
are so frequent that overtime work at fifty per 
cent higher wages has to be resorted to. 

Hence it is evident that time in the com¬ 
posing room is one of the most costly parts of 
an Annual, and it must be economized by care¬ 
fully prepared copy. 

Even a minute lost here and there in de¬ 
ciphering poor manuscript or uncertain spell¬ 
ing of names is a dead loss in actual cash, not 
to mention the much greater expense in cor¬ 
recting proofs when errors are discovered. 


How to Prepare 

Use uniform copy paper, size 8>£xii inches, 
I and would suggest that double spacing, three 
lines to the inch, should be the rule, as such 
typewriting admits of interlining and is much 
more easily read by the compositor. Write 
on one side of the copy paper only. Also never 
pin anything to a sheet of copy paper. Any 
afterthought or inset should be prepared on a 
slip of paper and pasted—at the left margin 
only—securely to the copy sheet, with a mark 
to show exactly where it is to be introduced 
into the type. Pins invariably drop out in the 
rough usage to which copy sheets are put in 
the many proofreadings and checkings re¬ 
quired. 

Be sure to make a duplicate or carbon copy 
of everything for your own files. In case ori¬ 
ginal copy is lost in the mail, or otherwise, 
your duplicate can be used, thereby saving 
considerable time in rewriting. 

Copy written with pen or pencil may be 
very carefully written, but always brings troub¬ 
le before the job is completed, as names and 
places are so much used in an Annual and their 
spelling is often purely a matter of guess-work 
on the part of the compositor unless his copy 
is typewritten. 

Of course, copy prepared with pen or pencil 
will be accepted provided it is legibly written 
and on only one side of the sheet, but more 
errors will be found in proofs and more altera¬ 


tions will have to be paid for. On pen written 
copy all names should be printed very plainly 
to insure correct spelling. 


Editing 

After the Editor-in-Chief has received copy 
from ^y°r and edit 

it very carefotty- b e for e Ge adlgg jt to th e printer. 
Remember that changes from original copy, 
after type has been set, will be charged for 
as extras, and that you will save money if the 
corrections are made before the copy goes to 
the printer. 

Be especially careful as to the corr ect spell- 
ing of na mes and places and sec tha ftKename* 
of one individual is not spelled two or three 
different ways in the book. 

Where membership in Greek fraternities is 
indicated after names of members in classes, 
etc., Greek letters should be used in designat¬ 
ing the name of fraternity or fraternities, thus 
“John William Davis, <I>AQ”, instead of spell¬ 
ing out names of fraternity in Engli sh. If the 
type writer is used ^-tbe^Gr^drTetfers can be 
inserted lateTwith pen. 


Numbering Sheets 

After the copy for an article has all been 
edited and is thoroughly satisfactory to the 
Editor-in-Chief, then each sheet of copy should 
be numbered consecutively so that in the event 
a sheet, or a number of sheets, should be 
dropped on the floor or blown out the window, 
the consecutive order of the copy could be 
immediately re-arranged. On each separate 
article or group of statistics indicate in the 
left hand margin of copy paper how many 
pages it is to occupy, give the page numbers in 
the dummy, and state whether an engraving 
works in conjunction with it, giving, if possible, 
size of engraving and engraving number. 


How the? Printer Handles Copy 

When your copy reaches the printer, each 
piece of written copy goes to the type-setting 
room and is set up in type and placed in galleys 
or brass slides. When all type is set, the print¬ 
er takes a proof which is read and compared 
with your original copy by a proofreader. If 
mistakes are found they are corrected, then 
another proof is printed and mailed to you so 











Building a College Annual 


5 ° 


you can go over it for any errors you have 
made in grammar, names, facts or arrange¬ 
ment. If you catch any errors, correct them 
in the margin of proof so that they can be cor¬ 
rected in the type before the pages are made 
up ready to print. These author’s corrections 
are charged extra by printer, so you can see the 
importance of having copy carefully edited 
before it is sent in. 

When proofs are sent back to the printer and 
necessary corrections made, the type is ready 
to go to the make-up man. This man consults 
his dummy and finds that a title page goes on 
page one. He gets the type out of the galley 
and properly spaces it out to standard page 
size and ties it up with a string. Another page 
in dummy calls for a Senior panel engraving 
with names and write-up opposite each picture. 
He finds the engraving by its number, picks 
the proper type out of galley and combines 
the two into a complete page. Another page 
will be all type matter and no engraving, and 
another will be a full page engraving with 
possibly a single line of type below it. 

Working page by page constantly consulting 
the dummy for arrangement, he gradually 
makes up the entire book into pages; each en¬ 
graving and type article in its proper place 
on the page and each page with its proper page 
number as it will appear in the finished book. 


The Final Page Proofs 

As an extra precaution the printer will take 
a rough proof of each completed page and send 
for your final O.K. Go over these proofs care¬ 
fully and see that no errors have been over¬ 
looked and that each engraving is in its proper 
place and that each article is on the proper 
page and particularly that all names are proper¬ 
ly spelled. This is your last chance to correct 
errors, so be careful but very prompt as the 
press is waiting for you to send proofs back. 
Don’t let anything interfere, but get these 
proofs back by first train, Special Delivery. 

Imperfect Advance Book 

It is customary to send by special delivery 
mail, as soon as the last form, is off press, a 
copy of your publication. This copy is im¬ 
perfect, consisting -of torn, soiled or poorly 
printed sheets, put together roughly. It is 
not to be considered a specimen of the finished 
work. It is submitted for one purpose only— 


to give the customer an idea of the positions 
of the various parts of the book. While this 
rough copy is in transit the binding is progress¬ 
ing. If the distance be great, the finished 
books may sometimes be shipped before the 
receipt of this sample. 

Should there be any glaring errors in the 
make-up of the book as shown by this advance 
copy (all publications invariably have some 
trifling typographical errors not worthy of 
consideration) wire the printer immediately, 
bearing in mind, however, that the printing 
is completed and that no change can be made 
in that part of the work. We strongly urge 
that this copy be not shown to any person 
other than the Editor, as it would, in its im¬ 
perfect state, cause adverse criticism. 


Proof Reading 

When the copy sheets containing your manu¬ 
script reach the printer, it is turned over to the 
typesetter and the body type is set up on the 
typesetting machine. The type as set on the 
machine is not spaced correctly, as far as page 
arrangement is concerned, but is placed in 
“galleys” and a proof made of it. This is 
termed the “galley proof”, and each galley 
contains approximately twenty inches of type. 

Your proof in galley form is read, corrected 
and revised by proofreaders and then sent 
to you for a careful reading and correcting 
before the type is made up into page form. 
This is one of the most particular parts of the 
Editor’s work. If he edited all matter cor¬ 
rectly before sending it to the printer, the same 
will be set into type correctly; but if names, 
places and captions were spelled incorrectly 
of course they will be set up in type incorrectly, 
and your changing of spelling or different con¬ 
struction of sentences will be alterations from 
the original copy and charged for according 
to the time it takes to make these changes. 
However if you contemplate any changes from 
the original copy, here is the place to make 
them, as it will cost you less to alter proofs in 
galley form than it will after made up into 
pages. 

After the type is made up into pages it is 
a far more expensive operation to go to the 
letter board, find the page, take it away in a 
galley, open it on a stone, make the desired 
correction, tie up the page again, put it back 
in the galley and store it away in its place on 
the letter board for the particular book, than 




Choosing Style of Type—Compiling Text—Editing and Proof Reading 51 


is the operation of original makeup of that 
page. Should a paragraph be discarded, or a 
paragraph added, it will require extra type¬ 
setting and repaging until some place may be 
reached where there is sufficient blank space 
to accommodate this matter moved forward. 
Adding or taking away a whole page means the 
renumbering from that page to the end of the 
book, including the opening of every page to 
make the change in the figure for the folio. 

The expense of authors’ changes can be very 
easily eliminated entirely by having every line 
of copy and every page of dummy carefully 
edited and typewritten before sending it to 
the printer. For these reasons printers are 
only too anxious to have the Editor-in-Chief 
do his work properly before the copy is sent 
in. 

The galley proof should be read carefully 
and all errors marked plainly in the margin. 
You should also check up your dummy with 
your galley proofs and see if your articles will 
come within the space you have allowed. If 
it is clear that they will not, you will either 
have to re-arrange your dummy or re-edit the 
article by cutting out portions of it so that it 
will fit in the space specified. 

As you check off galley proofs by your dum¬ 
my, mark on the margin of the proofs the page 
number on which the type is to appear in the 
dummy. This will greatly facilitate the make¬ 
up man in finding the articles as the book is 
made in page form. Return the galley proofs 
promptly. 

Just as soon as he receives the galley proofs, 
the corrections are made, and the book is then 
made into page form and a page proof is sub¬ 
mitted, with your marked galley proof, for 
your final revision and O.K. This proof, while 
not a sample of paper or presswork, represents 
the appearance of the pages just as it will 
appear in book form. We would suggest, to 
prevent possible errors, that you carefully 
compare page proofs with your original galley 
proofs and see if errors marked in galley proofs 
have been properly corrected. If there are 
any corrections to be made, indicate them. 
The printer uses every possible precaution to 
avoid typographical errors, but will not hold 
himself responsible for their corrections unless 
you clearly indicate such errors on the proof. 
Just as soon as these proofs are all returned, 
your part in the production of the Annual is 
completed, for the book is then ready to be 
printed and bound. 


High Cost of Changes in Proofs 

If every line of copy and every page of the 
dummy is carefully edited before it is sent to 
the printer there can be no changes possible 
unless the printer has made mistakes in type¬ 
setting which his proofreader has not caught. 


Proofs —How Submitted 

Page headings, if used throughout a book, 
are shown in the proofs of only the first section 
of sixteen pages. 

Proofs are never submitted on any but cheap 
paper, light in weight and with cheap ink. 
They should, however, be sufficiently plain to 
be easily read, so that “i” may be distinguished 
from “ 1 ”, “n” from “u”, etc. If, by an ac¬ 
cident, a proof not perfectly legible should hap¬ 
pen to be sent away, the best course is im¬ 
mediately to ask for a perfect proof. The 
printing of halftones and other engravings 
on proof paper is of the roughest kind and is 
only for the purpose of identifications and 
proper position. In case of the slightest doubt 
as to identification of a halftone, by all means 
ask for a better proof so that there can be 
no possible doubt. The printer will send the 
copy with the proof, and it must be returned 
to him with the proof, otherwise delay will 
follow, as the printing cannot be done without 
the complete copy and dummy for constant 
reference. Unless specially so requested, the 
printer does not send the dummy with the 
proof, as you are supposed to have your own 
duplicate copy of dummy. 


Return of Proofs 

The best method for the return of copy and 
proof is by Special Delivery. The rate for 
postage is the same as for books and photo¬ 
graphs. They must be labelled “ Printer’s 
Proof and Author’s Manuscript”. The post¬ 
age is one-half cent an ounce. They can also 
be sent as Parcel Post. Be sure that the print¬ 
er’s full name and street address appear on the 
package of proof and copy when it is returned 
to him, and see that your own name and ad¬ 
dress are written on the package preceded by 
word “From”. 

The sender’s name should also appear in 
connection with the statement as to the con¬ 
tents of the package. It is our experience that 
a Special Delivery stamp affixed to the return 




52 


Building a College Annual 


package will materially aid in the rapid hand¬ 
ling enroute, whereas, otherwise, it would be 
a whole day slower in transit. Express is 
invariably slower than mail. Registered mail 
is very slow and affords but little more protec¬ 
tion than Special Delivery. Third-class with 
Special Delivery stamp is more rapid than 
first-class mail without Special Delivery. 

Never roll proofs or copy. They should be 
sent flat, as they must of necessity be handled 
several times by the printer for the corrections 
and proofreading of corrections, checking of 


paging and lock-up and checking of final press 
proof. If rolled, they are hard to handle. 

Proofs should be returned at the earliest 
possible moment. We urge most strongly that 
the Editor and such assistants as he may desig¬ 
nate get right to work at the proofreading and 
checking immediately upon the proofs’ arrival, 
asking for excuses from recitations and study 
periods until the work has been done and the 
proofs and copy dropped into the return mail. 
Every hour is valuable, as the printing and 
binding must be given plenty of time if the 
work is to be first-class. 




CHAPTER VII 


ART WORK, GROUPING, 
CARTOONS, ETC. 


The Art Editor 

The position of Art Editor is second to no 
position on the staff as fai US contributions is 
concerned, because a College Annual is pri¬ 
marily a picture book, and if the Art Editor 
does not do his work properly, the book will 
be a failure in spite of the best efforts of the 
other members of the staff. 

The Art Editor should not only have ability 
\as an artist, but should have some executive 
ability j arid be able to plan his work in advance, 
pfoperly^ssign the work tn fHg^iffetfent artists 
arid see that each does the work assigned and 
in accordance withrin struc tions and the general 
plan. 

If there is no one connected with the school 
who can make good drawings, some commercial 
artist should be employed to do the work. 
Poor, weak cartoons, titles and illustrations 
cheapen a book, no matter how fine the photo¬ 
graphs maybe or how splendid the engravings, 
,printing and binding. Far better no cartoons 
'at all than to-use- cven a single one that is no 
good. 

New headi nss and new art work th roughout 
should be the order of every edition of an An¬ 
nual. The same heading repeated year after 
year loses its interest and will diminish the 
sale of the book. 

If there are many cartoons or art desig ns 
to be made, the Art Editor will find he has a 
Herculean task on hand. He will have to 
work hard, keep up his enthusiasm and con¬ 
stantly encourage and inspire his assistants to 
do their work quickly and well. He must see 
that the quality of drawings is not allowed to 
deteriorate and must not accept inferior work. 
It is advisable to start on the drawings early 
in the fall; in fact, if they could be made 
during the summer vacation, so much the bet¬ 
ter. 

Your drawings should be made in the same 
style throughout the book so they will harmon¬ 
ize. The artistic arrangement of an Annual 
should be given considerable thought; talked 
over with the Editor before a start is made 
on drawings, groups or any other art work. 


After all drawings, groups and other art 
work have been completed, the Art Editor 
has finished the work on the Annual for which 
he is responsible. 


Early Start—Importance of 

The Art Editor should know the advantage 
of getting all work on the Annual started at 
the earliest possible moment and the import¬ 
ance of proper co-operation, not only with his 
own associates but as well with the engraver 
and printer. 

Planning the Art Work 

The art work on your book is what gives 
effect to the entire publication. If well done 
it enhances the beauty of the printed page, 
sets off the photographs to best advantage, 
and gives a harmonious unity to the entire 
book. First impressions count. Make your 
book stand out as a book of good taste at the 
very first glance. 

Don’t use too many different styles of draw¬ 
ings. Select a style of illustration and stick 
to it. Make^he page headings,.I)x>xders, cover 
de sign, panels aTRFrfrfe p agesnarmonize. Plan 
your art worT just as thorOtrgffly as the editor¬ 
ial work. 

Make Your Artists Follow Your Plan 

When you have planned the general style 
or effect you want, then be sure that the As¬ 
sistant Artists follow the agreed style so that 
there will be uniformity and harmony through¬ 
out the book. It is important that they know 
how to ma^e_dfaw+n-gs- so'tlrey , ''Wttt~Teproduce 
well. A drawing that may look very well in 
the original may not reproduce effectively at 
all. This is because of the reduction which 
is necessary in making engravings from the 
drawings. If at all in doubt be sure and make 
up one sample 4 £g win g in line and in wash_and 
send to your engrav^f foF'criticism and sug¬ 
gestions. 


53 















54 


Building a College Annual 


Artists’ Materials 


It is of the utmost importance to use the 
proper materials if satisfactory drawings and 
groups are to be made for reproduction in 
printing plates. 

For pen drawings made for zinc etchings 
and wash drawings for halftones the proper 
grade-o£ drawing board should be secured. 

A grade of board thatworks~Tiicd;yfor wash 
drawings may not be suited to pen drawings 
at all and vice versa. 

Under no circumstances should colored or 
tinted board or paper be used to make draw¬ 
ings. Red, yellow and some other colors photo¬ 
graph black; therefore, a jet black line on red 
or yellow paper will not show at all and can¬ 
not be reproduced. 

When board is selected for mounting pictures 
into groups, it is important that a style be 
selected that will photograph properly. The 
background in many groups when photo¬ 
graphed for engraving, does not look anything^., 
at all like the original because of the colors 
used. For instance, a mounting board with 
the lightest kind of yellow or red color would 
photograph very dark and a design in blue 
would photograph white and the design be 
lost entirely. 

Your engraver will, on request, send you a 
full Jin£^f~-propexly-^selected.. drawing and 
mounting board«--wh!ch'have been tested and 
found to be Lhe-best. 

Use standard water=pro of..black dr awing ink. 
We find Higgins’ to be the best! Gfflot t’s Np . 
170 and No. 290 pens are best for pen and ink 
drawings. Tor - a beginner~bhe of the very 


a cartoon, title page, wash drawing, illustra¬ 
tion or group, and send it to your engraver 
tor criticism and suggestions. This service 
costs you nothing and may not only greatly 
improve your book but may save some very 
unfortunate mistakes. When you can get ex¬ 
pert advice and assistance, why not use it? 


Pen Drawings for Zinc Etchings 

In making pen drawings first make the de¬ 
sign jnlightjpgflgil and in doing this use just 
as much care asif you were making the fin¬ 
ished drawing, except that all the finer details 
of shading, etc., may be left out; m other 
words, put in pertcif only the strong - features 
or outline. 

After the pencil lay-out is completed, go 
over it with pen and ink and now put in the 
complete picture correct as to detail, shading 
and strength of lines. 

Use Higgins’ black drawing ink and the 
proper kind of'drawing board. 

Make strong, c lean . black lines, as. light or 
gray lines are likely tolireak in etching. Do 
not attempt to give an effect of shading by 
means of too fine lines, as more than likely 
the engraving will show the lines run together 
in one mass. Do not put wash shadings on 
pen drawings unless you want them to be re¬ 
produced in halftone. 

If you have not had a great deal of experience 
in pen drawing, you had better confine your¬ 
self to simple line drawings, using solid blacks 
for the shaded portions, or very simple straight 

.._a beginner one ol tn.e very line shadings. Imperfections and roughness 

elastic drawing pens used by experts is hard J n a drawing will be minimized by the reduc- 
to handle and a.-fairly. stiff coarse writing pen /ytion in making the etchings. Bold lines .with 
that" produces a smooth lineof-eveinthickness, Vf ew detS^Taake :: very effective Annual illus- 
isbest. Do not put water in your ink and make IffaEons All drawings should be made uni- 
— J - i: — * ’--- 1 —* larger each 


it produce a gray line. 


I Ipr mly^gq -ge r-c-. - 

way-i^irtKe^sfze "Sfengravings. 


Sample Drawings 

Remember that your engraver is just as 
anxious as you to have your drawings and 
other illustrations show up well when printed 
in the book. Every year we see so many bad 
drawings and groups and it is so easy to make 
them properly that we cannot urge you too 
strongly to be sure you know what you are 
doing before you put in a lot of time on art 
work that is not right. 

The very first thing, make up a sample 
drawing of different styles you select, such as 


Shading 

There are various styles of shading used in 
making pen drawings—single lines of various 
thicknesses, cross-hatch, stipple, spatter ink 
and Ben Day shading. 

Stipple work consists of dots made with the 
point of a pen. 

Spatter work is similar to stipple work in 
effect, but the dots are softer, more irregular, 
and more numerous. It gives very artistic 
results for backgrounds and flat surfaces. 









Art Work — Grouping — Cartoon , etc. 


55 


Cover all the parts of the drawing that are 
not to be “spattered^ with a paper mask, then 
dip a -toot;h brush in^black ink, and, holding 
it about a foot from tit? exposed surfaces of 
the drawing, flip the bristles with a knife 
blade, pulling it away from the drawing. In 
recoiling, the bristles send fine particles of ink 
onto the paper where it is not covered by the 
shield or mask. Try this on some blank paper 
until you get the desired effect before you work 
on your drawing. 

Ben Day mechanical shading is done by a 
machine. Effects similar to stipple work and 
cross hatching may be printed onto parts of 
your drawings with this machine by the en¬ 
graver, giving your drawings some very unusual 
effects, as the shading is mechanically perfect. 
Your engraver will help you plan any such 
work you desire. 

The various styles of Ben Day shading used 
are illustrated in a drawing reproduced and 
printed in the back of this book. 


Pen Drawings for Color Work 

Cartoons, title pages, department heads, 
etc.colors-are usually made from pen draw¬ 
ings. 

To produce plates of this kind a pen drawing 
is made and in the drawing is shown only the 
details, lines, shading, etc., that are to print 
in black or the key color. No colors must be 
put in this drawing. The drawing should be 
made just as if it were to print in black only. 

After the key drawing is made place a sheet 
of transparent parchment or heavy tissue over 
the drawing and paste it at upper margin. 
On this flap or cover draw in roughly the colors 
as you want them to appear in the printed 
design; light red for flesh tint, blue hat, red 
belt, etc. Use colored pencils or water colors. 
This color scheme will serve as a guide to the 
engraver in making the plate for each color. 
Each color requires a separate plate and sepa¬ 
rate printing, consequently it follows that the 
more colors you have the more expensive will 
be the engravings and printing. Usually three 
plates will give you the desired effect. If you 
have several color plates to be made, it will 
be safer to complete one drawing, following 
the above directions, and send it to your en¬ 
graver for inspection, criticism and sugges¬ 
tions, before making the others. “Be sure you 
are right, then go ahead.” 


You must not put in any colors on your 
drawing, nor is. it necessary for you to make 
a separate drawing for the color plates. 

It is especially important if you use color 
work to make up one sample and send for 
inspection. Drawings are often made that 
are absolutely useless and have to be made 
over. 


Pencil and Charcoal Drawings 

Pencil-'aTrd - tflra4^al~d«ovlngi7 if well exe¬ 
cuted, are very effective. They can be re¬ 
produced in halftone the same as photographs 
and wash drawings. The famous “Hi-light 
Halftone” process of reproducing pencil 
sketches can be used very effectively on the 
little thumb-nail sketches in the view section 
of your book. 

Hi-light halftones are very expensive, cost¬ 
ing four times the price of a regular square 
finish halftone, so if many of them are used 
your drawings should all be made in the same 
size or proportion to cut down the cost. 

Sometimes if drawings are properly made the 
engraver can reproduce pencil and charcoal 
drawings by the zinc etc hing process which is 
very much cheaper. These drawings should 
be made on spe cial very rough paper so the 
drawnrgs^ilL 4 i 5 ^-a--stippIe effect. Don’t 
make any number of drawings of this kind 
without first sending in a sample to your en¬ 
graver. 


Wash Drawings 

A wash drawing is a drawing made with a 
brush on white illustration or water color board 
with diluted India ink, lamp black or Sepia. 
The color is made very faint where it is desired 
to have a light tone. The more water mixed 
with your color the lighter the tone when ap¬ 
plied and vice versa. To get good results use 
strong—contrasts. Wash drawings must be 
reproduced in halftone, the same as photo¬ 
graphs, and line etchings cannot be made from 
them. All drawings for halftone reproduction 
should be larger than the engravings that are 
to be made from them, usually one and one- 
half times larger or twice as large. 






Building a College Annual 


56 


Wash drawings intended for halftone copy- 
should be done in black or sepia. Other colors 
should not be used. 


Combination Drawing and Photograph 

Sometimes it is desired to cut out faces from 
photographs and draw bodies in imaginary 
poses. The heads should be nicely pasted 
down on drawing board and the drawings of 
bodies made “in wash”—that is, with a brush, 
as explained above under “Wash Drawings”. 
A halftone is then made of the entire copy, 
the same as if it were an ordinary photograph. 
Zinc etchings of such subjects cannot be made, 
even where bodies are drawn in “line”, as the 
photograph of head will not reproduce by that 
process. 


Panel Designs 

Frequently when the Senior Class pictures, 
faculty, etc. occupy a number of consecutive 
pages, the same background is used on en¬ 
gravings throughout the whole section. In 
such cases it is customary to make “panels” 
for the pictures; the usual method follows: A 
decorative drawing is made; from this draw¬ 
ing a zinc etching is made. The engraver then 
prints the zinc etching on mounting board, 
thus securing the same effect that you would 
get in case the decorative treatment were 
drawn directly on the mounting board. He 
prints up as many of these as are necessary 
to furnish a panel for each set of photographs 
and the photographs are then pasted on to the 
panels. The finished panels are then photo¬ 
graphed by the engraver to make the halftone 
for printing. The drawing and mounting 
board prints of panels must be made in such a 
size as to accommodate the photographs and 
at the same time reduce proportionately to 
the size desired for the halftones. 

We would advise that as a rule you instruct 
your engraver to make up your panels, for 
since they are to appear on a number of con¬ 
secutive pages, they should all be a well exe¬ 
cuted design. Give him some idea of what you 
want and he will be glad to quote you a price 
for the drawing and the number of panels re¬ 
quired. W hen he makes up your drawings 
for panels, he must have a sample photograph 
so that he can get the size and proportions cor¬ 
rect for reduction. 


Panel desigiis_mu*t-be--siTrrple and very sub¬ 
dued or they will be displeasing when the 
photographs are mounted and the panel re¬ 
produced in an engraving. Like the borders, 
the panel designs are not the important thing 
on the page. The photographs are what you 
want to display, and the design should help 
display the portraits and not detract attention 
from then. 

Engravers are constantly designing new 
panels and originating new ideas, and can often 
furnish you a well executed design at so small 
a cost that you will be glad you used the ser¬ 
vice of an experienced Art Department and 
secured an appropriate design. 


Grouping—Advantages of 

When pictures of a number of individuals 
appear on one page, it is cheaper to group the 
photographs and make one halftone than it 
is to make individual halftones. Your en¬ 
graver should be prepared to do any grouping 
you may desire, but we find from experience 
that many college staffs prefer to do their 
own grouping in order to save the cost of this 
art work. 

With the assistance and instructions con¬ 
tained in this book you should have no diffi¬ 
culty in preparing your own groups. Your 
engraver is in a position to supply you with 
various styles of mounting board at a small 
cost, should you desire to do your own group¬ 
ing. 


Groups of Portraits Made by Engraver 

Where two or more portraits are to be 
grouped together by the engraver, care must 
be used in sending in orders to prevent mis¬ 
takes in identification of pictures. 

First: Diagrams. Make a rough pencil 
diagram showing exact size of engraving de¬ 
sired. Indicate in the diagram the position to 
be occupied by each portrait. Give this dia¬ 
gram the number that is used on order blank 
for this group. 

Second: Names. On the back of each por¬ 
trait print the name legibly so no mistake can 
be made in spelling and put same name in its 
proper place on diagram. Put the number 
of the group, in which it goes, on the back of 
each portrait and position such as A, B, C, etc. 

Third: Envelopes. When each picture is 
properly named, numbered and lettered, en- 






Art Work■ — Grouping—Cartoon, etc. 


57 


close all the pictures for the group together 
with the diagram for that group in an envelope. 

Fourth: Identification. If you want the 
name of each person to appear when printed 
under each picture, say on outside of envelope 
and in order “Name under each picture””. 
Putting in each individual name adds con¬ 
siderably to the art cost in large groups, but 
each picture can be identified by a number at 
small additional cost. 

Fifth: Stickers. On the outside of envelope 
paste a sticker filled out in full, giving name 
of Annual, size of engraving, etc., and the 
number in your order blank. (Furnished by 
engraver free.) 

Sixth: How to Mark. In marking pictures 
use a soft pencil and write lightly so marks 
will not show through on face of picture. 

Seventh: Typewritten List. As an extra 
precaution a typewritten list of names, prop¬ 
erly spelled, should be enclosed in the envelope 
with each group. Verify this list for spelling 
with the names on the pictures and in diagram. 

Eighth: The Pictures. All pictures for a 
group should be made so that heads will be of 
uniform size. If some heads are large and 
some small, it means extra negatives for the 
engraver to get them uniform and adds con¬ 
siderably to the cost of the plate. 

The photographer should make all pictures 
uniform in tone or color and print them on 
the same kind of photographic paper. Glossy 
prints make the best halftones. 


Grouping Portraits by the Art Editor 

If you cannot afford to have the engraver 
group your pictures, and wish to do the work 
yourself, follow the rules here given and you 
should have little trouble. 

We suggest that you make up one group of 
portraits and one of snaps and send to your 
engraver for criticism and suggestions before 
doing all of them. 

Groups should be made as simple as pos¬ 
sible, avoiding complicated lines and figures 
in the backgrounds. As a rule, student en¬ 
deavors are disappointing. 

First: Lay out on a piece of cheap paper a 
light pencil diagram, showing exact position 
of every picture in the group, being sure that 
the space allowed for each picture is correct 
and that the complete diagram will reduce to 
the desired size. 


In laying out your group, bear in mind that 
it must be made in the same proportions as the 
finished halftone is to have. The group “lay¬ 
out”, of course, usually will be larger than the 
size of the finished halftone, for when the en¬ 
graver photographs the group it can be re¬ 
duced to any proportionate size. But the 
width and height must be proportionate, for 
the engraver cannot reduce the height and 
leave the width the same, or vice versa. 

It might be well to practice on some cheap 
wrapping paper how to lay out groups in prop¬ 
er proportion and style before attempting to 
put diagram on mounting board. Don’t run 
your pictures to edge of mount. Remember 
that tacking room must be left all around the 
outside edge of every group. Read “Groups of 
Snaps” later in this Chapter. In laying out 
diagram make pencil marks very light and 
small enough so they will be covered up by the 
picture when it is pasted down. 

Second: Have your photographer leave the 
prints unmounted. If they are to be oval, 
do not try to cut them with scissors. They 
must be cut by a brass oval mask and cutters. 
Your photographer or engraver can do this 
for you or secure the proper size mask for you 
and show you how to use it. The size oval 
you wish to use should be determined before 
the photographer makes your pictures. Por¬ 
traits should be trimmed until they bring out 
most strongly the features of the individuals. 
In your Senior pictures, for instance, you 
should trim out most of the background until 
just the faces stand out strongly. Remember, 
if the head is small and a lot of uninteresting 
background is left in the portrait, when the 
reproduction is made, the head will be very 
small, and the background will attract more 
attention than the picture. Study the way 
portraits are shown in magazines. 

Third: Soak the photographs for a few 
minutes in clear water, in a shallow basin, 
until they are flexible. This does not injure 
them. 

Fourth: Have ready two good sized sheets 
of blotting paper, and blot the photographs 
between these sheets to take up the excess 
moisture. 

Fifth: Now lay your picture face down on 
clean white paper. Apply library paste to the 
back with a one-half or three-quarter inch flat 
stiff bristle brush. Do not have any lumps in 
the paste and do not use mucilage or glue. 




58 


Building a College Annual 


Do not use the paste too thin, but just thin 
enough so it will not be watery, as it is likely 
to ooze out around the edges and cause blem¬ 
ishes and spots to show in the halftone. 
Apply the paste on the back of your picture 
evenly, but not too generously, being sure that 
the prints afe covered to the extreme edges. 

Sixth: Lay the picture down in place and 
press gently. Use a clean sheet of blotting 
paper over it, and smooth out any air bubbles 
or wrinkles by rubbing your fingers over the 
blotting paper. Press from the center toward 
the edges of the picture. 

Seventh: If in handling the photograph 
you have gotten paste on the face of it, wipe 
off with a damp piece of cotton or clean sponge. 

Eighth: Be very careful not to get any 
moisture or drops of water or any paste on 
the mounting board. 

Ninth: Put the whole group design under 
some heavy books and allow to dry; this will 
prevent curling. Cover up the group with a 
sheet of white blotting paper before you put 
it under the weight. Should the blotter stick 
to the picture while drying, clean off adhering 
blotter with damp soft cotton or sponge. 

Tenth: Do any drawing on the group after 
it is mounted and dried. The simpler the 
design the better, as elaborate designs require 
skill. Your engraver is prepared to do the 
lettering or drawing for you at moderate cost, 
or a very neat way is to let the printer put the 
names underneath the groups in type. 

In making your groups, place the photo¬ 
graphs as close together as possible, thus avoid¬ 
ing large reductions. For example, if you 
should have nine photographs to be grouped 
by placing them close together you can natural¬ 
ly get them on a smaller piece of mounting 
board than if they were widely spaced. It 
then follows that the smaller the dimensions 
of the group lay-out, the less will be the re¬ 
duction, and the larger the individual photo¬ 
graphs and the better the effect. This is 
especially true of kodak snapshots; for these, 
as a rule, are very small to begin with, and if 
they, are reduced to any great extent all the 
detail is lost. Unimportant or useless portions 
of backgrounds should be cut off the print 
before grouping. 


Groups of Snaps Made by Engraver 

First: Diagram. Make rough diagram 
showing exact size of engraving desired (usual¬ 


ly full page 5x8), and if there is any particular 
picture or pictures that should occupy the 
center or other preferred position, so indicate 
in the diagram by pencil marks and number. 
Give the diagram the same number that you 
give this group in the order blank. 

Second: Numbers. Number or letter each 
snap, thus No. 1, Group 26; No. 2, Group 26, 
etc. On bottom of diagram tell number of snaps 
in the group and see that you have the cor¬ 
responding number of snaps. 

Third: Envelope. When snaps and dia¬ 
gram are complete, enclose all in envelope and 
on outside of envelope paste a sticker properly 
filled out and of same serial number as used 
in order blank. 

Fourth: Style. When possible, leave it to 
engraver to group the snaps so that they will 
make the best arrangement and appearance 
when finished; but, of course, special pictures 
can be given preferred positions if necessary. 

Fifth: Do not cut pictures, but if any part 
of them is to be eliminated, hold up to light 
and mark on back where you prefer they be 
cut. Sometimes the artist needs a little more 
or less background to make a picture fill a 
space nicely and he prefers to do his own cut¬ 
ting of pictures. 

Grouping is charged for according to the 
time consumed by the engraver’s artists at the 
rate per hour as shown on your contract. 


Groups of Snaps Made by your Art Staff 

It is very important that you get plenty of 
snapshots and select the best ones for repro¬ 
duction. Do not use just any picture you hap¬ 
pen to have, but see to it that every picture 
you use is good and clear. Muddy or gray 
looking pictures will spoil your book, for they 
cannot make good reproductions. Make the 
kodak man print his “snaps” on a semi-matte 
paper that gives good, clear black and white 
tones. Don’t get them too contrasty, either, 
or they will lose detail in reproduction. 

With your pictures properly selected pro¬ 
ceed to make up a diagram showing the posi¬ 
tion of each picture. The easiest way to do 
this is to take a piece of paper and draw on it 
the diagonal line of proportionate reductions 
as explained in “How to Figure Reductions”. 
Then keeping within this line of reductions 
shuffle your pictures around on the diagram 
until you get them placed to your satisfaction. 
Where pictures over-lap trim off the surplus 




Art Work — Grouping — Cartoon , etc. 


59 


and place them back in position. With pic¬ 
tures all properly trimmed and placed, go 
around them lightly with pencil so when the 
pictures are soaked and pasted you can quick¬ 
ly and accurately mount them in their proper 
place. 

After your diagram is correctly made you 
can locate the pictures on the mounting board 
in this way. Take the paper diagram and lay 
it on the mounting board. Then with a pin 
punch a little hole through the diagram and 
into the mounting board at the corners of each 
picture. These small pin marks will show on 
the board just where each picture goes. The 
pin marks should be made so that the pictures, 
when pasted down, will cover them up. 

Don’t forget in making up groups to leave 
three-fourths of an inch tacking room all 
around the outside of group. Allow for this 
in making diagram on mounting board. 

In making up your groups of snaps make 
each picture tell a story. Don’t have three 
or four points of interest in one picture. Trim 
it down until there is just one point of interest. 

Trim out back-ground and figures of objects 
that do not add anything to the central story. 
This emphasizes the thing you want to show 
and enables you to get more interesting pict¬ 
ures in a group. 

With pictures properly trimmed and placed 
in the diagram proceed to paste and mount 
these as per instructions given in grouping 
portraits. 

The three pages following show the complete 
process of making up a group of snaps ready 
for the engraver. 


Groups —How to Get Proportions Correct 

The size of your type page is 5 inches by 8 
inches. The block size of your engravings 
must under no circumstances exceed these 
dimensions. We suggest and advise that you 
adopt a maximum size for your full page en¬ 
gravings of S x 7 H face measure, which makes 
the block size 5^x7^. Make your half page 
engravings 5x3KM-. and other sizes in the 
same proportion. These suggested sizes are 
for the printed surface and not the block 
measure of engraving. The block size of your 
engraving is one-eighth inch larger than the 
printing surface, on each of its four sides. 


Preparing a group of “snaps” or portraits 
to reduce to a full-page 5x7^ halftone, seems 
to the uninitiated a very difficult job. In 
reality nothing is simpler when the law of 
proportion is understood and applied. 

First, draw a diagram in the lower left-hand 
corner of your paper the exact size of the en¬ 
graving you want. Do not go to the extreme 
edge of paper but allow a margin between 
edge of paper and edge of diagram, i.e., when 
the group is completed there should be a mar¬ 
gin all around the outside edge so the engraver 
can tack the group on his board for photo¬ 
graphing. 

Second, draw a diagonal line through this 
rectangle diagram from the lower left-hand 
corner through the upper right-hand corner 
extending it indefinitely. Lines drawn at right 
angles to each other at any other point on the 
diagonal will form a rectangle, proportionate 
in length and width to the original rectangle. 
In laying out your groups draw these dia¬ 
grams on a piece of paper until you get the 
proper size and arrangement of your pictures. 
Do not experiment on mounting board as 
pencil lines are not easily erased without 
showing. 


Reducing Pictures in Proportion 

The engraver, of course, in making an en¬ 
graving can reduce the copy to any propor¬ 
tionate size. But in specifying the size you 
want an engraving made, always keep in mind 
that the ratio of the greater dimension of the 
photograph or drawing to the greater dimen¬ 
sion of the engraving is the same as the ratio 
of the lesser dimension of the photograph or 
drawing to the lesser dimension of the engrav¬ 
ing. For instance, if from a photograph 10 
inches wide by 8 inches high there is ordered an 
engraving 5 inches wide, that engraving will 
be 4 inches high. 

Here are plain directions on how to figure 
reductions on two kinds of photographs: 


First Method 

Do not draw on the face of the picture, 
but make your calculations on the back with 
lines drawn lightly. Then mark size and it 






6o 


Building a College Annual 


J is ready for the engraver. (See instructions 
—for marking copy.) 

First draw lightly on the back of the photo¬ 
graph a diagonal line from the lower left corner 
to the upper right corner. 

Lines drawn at. right angles to each other 
at any point on this diagonal will be in correct 
proportion to your original picture. 

For instance suppose you want an engraving 
3 inches wide from a larger drawing or photo¬ 
graph and wish to know the exact height it is 
going to be. Take your ruler and measure 
3 inches from the left side of the picture. The 
distance from this point up to the diagonal 
line gives you the exact height the engraving 
will come. 

The diagram illustrates this particular ex¬ 
ample, but the same rule applies in all cases. 
If you have the height and want the width, 
simply reverse the process. Remember this 
applies only where you wish to use the whole 
picture. 


Second Method 

In order to secure a desired reduction, you 
can frequently leave out useless or unimportant 
portions of background or photograph and not 
use the whole of the picture. In this case, 
proceed exactly as in the other method, only 
be sure to figure only on the portion of the 
picture you desire to use. 


Trimming Pictures 

How to trim pictures to get the best effect is 
explained in article about grouping portraits 
and snaps. 

All pictures sent to the engraver, that are 
not in groups, should be sent unmounted and 
untrimmed. If you wish any of the back¬ 
ground eliminated, mark on the back of the 
pictures as explained above. 


Art Sections 

It is becoming quite popular among the col¬ 
leges to have a section of sixteen pages printed 
on one of the fine tinted papers in some hand¬ 
some doubletone ink of which there are many 
appropriate shades in browns and greens. A 
section is devoted to views of campus, build¬ 
ings, Seniors, and feature pages showing spon¬ 
sors or most popular girls in characteristic 
poses, printed from good sized halftones. They 
make a most attractive appearance and surely 
produce good results in the selling end of the 
publication. Such sections should be full eight 
or sixteen, twenty-four or thirty-two pages and 
should come invariably between full sections 
for economy in binding. To be explicit, the 
first page of such sections should be I, 17, 33, 
49,. 05 or some multiple of sixteen. Only a 
trained and experienced artist should attempt 
to prepare copy for these art sections. Your 
engraver will be glad to advise with you about 
making pictures and quote approximate costs. 


Hold the photograph up to the light with 
its back toward you and mark with pencil 


Border 


lightly just where you want to have the en- » ... 

graver cut the negative when reproducing it. A X ^ry artisti.c yet jnexp e nsive way to dec- 
After you have marked and squared up with ° rate :l ^ se J °* a border - Ask 

pencil, then draw a diagonal line as per dia- y0 “ r engraven^STT^ designs, 
gram and proceed as you did with the whole 
picture. Draw your diagonal from the lower 
left-hand corner to the upper right-hand corn¬ 


er of the part you have decided to use, and from 
this diagonal get your dimensions. 

The engraver will have no difficulty in under¬ 
standing. Do not draw on the face of the pict¬ 
ure or cut away the part not desired. These 
will be squared up and cut evenly by the 
engraver. In marking any lines on the back 
of a photograph, draw them very lightly or 


If a border is desired by the staff to run 
entirely around the pages, a decision must be 
made whether it is to be run in the same color 
as the text or a different color. The drawing, 
of course,- must be made in proportion to the 
type page and the center of the design in the 
completed plates should be at least three- 
eighths of an inch wider (left to right) and 
three-eighths of an inch deeper (top to bottom) 
than the size of the type page. 

These borders may be made from wash 
drawings or pen drawings. However, plates 


1 1 • , ,- .— 1 vaiawwigo ui pen uictwings. uuwever, piates 

else the lines will show through on the face of from pea drawings- are the most popular and 
the photograph and in the printed engraving, least expensive; 





Art Work ■— Grouping — Cartoons, etc. 


61 


Border plates that are to be run in separate 
color from the text need not be mortised, that 
is, the wood showing in the center of the plate 
sawed away, while they must be mortised if 
run in the same color as the type. 

That question of in what part or parts of the 
Annual the border will be run will be left with 
the staff as many publications show the border 
to run entirely through the book while many 
more show it to begin with the Senior Section 
and extend to the Advertisements. 


Running Head or Page Heading 

Unless a border is used, all Annuals without 
exception, should have a running head at the 
top of the pages. ->r---- 

The least expensive while not so artistic are 
those set in type by the printer. Ask your 
engraver to show you designs. 

.Many successful publications show a run¬ 
ning foot piece at the bottom of each page in 
conjunction with the running head. 

In ordering borders and running heads first 
ascertain from your printer the number of 
pages that will be printed at one time which 
ordinarily is eight, while some of the larger 
equipped firms print sixteen and thirty-two. 
If eight pages are printed at one impression, 
order from your engraver one original plate 
and. seven electrotypes; if sixteen, order one 
original and fifteen, electrotypes. Electrotypes 
are duplicates njade by taking wax impressions 
of the originate 


A Few Helps and Hints on Cartoons 

Quoted from Perce Pearce, the newspaper 
cartoonist. 


pictur es, but with theHaC"k~©f-^artjQcns and 
hum^r _ ^we~f 5 eh- 4 hal_jtlie^Qok--as a whole is 
flat . Some of us even want our money 
back. Without cartoons the annual lacks 
sparkle and variety and “pep”. 


The collection of cartoons and jokes is a 
bi§ job for somebody. Surely among your 
classmates there is a vender of humor who can 
take hold and make the lighter side of your 
edition shine. 


“In the following paragraphs the writer has 
tried to touch upon the fundamentals concern¬ 
ing the cartoon work for your annual. It is 
writterrin the hope that it may be of some as¬ 
sistance to you as afreditor. 

l< ^dea }—How do we get our ideas? Well, 
they come to us in various ways. A carica¬ 
turist as a. rule relies principally upon his own 
fertile brain for his material. However, with 
a whole campus cutting.up capers, the college 
humorist should have little trouble collecting 
suggestions. Whenever you-kear or see any¬ 
thing that strtkes you.aiC l u d icrpus^jot it down 
in your notebook for futtrre-reference. You 
have noticed the small boy on the street, no 
doubt, picking up scraps of string, pins and 
rusty nails, and jamming them down in his 
pants’ pockets. Did you ever stop to reason 
out what he intended to do with them? They 
were his stock in trade. When he had col¬ 
lected enough string he would wind it into a 
baseball. Heaven knows what he did with the 
rusty nails and pins! However, that is the 
way we, too, pick up material that others have 
dropped, and eventually weave it into a joke 
or picture. Don’t hunt through old annuals 
and periodicals for ideas that can be re-vamped 
to suit your purpose. That is the lazy way, 
and does little credit to you or your school. 
Be" Origina l. 


“To do the fiends of care up brown 
The circus ring must have a clown; 

The opera that would harpoon 
The coin must have a big buffon; 

The banquet that would make a hit 
Must at the table have a wit— 

And so the “annual” for pith 
And point must have a picturesmith. 

“Of the many important factors in produc¬ 
ing a creditable yearbook, let us dwell for a 
moment on the subject of cartoons. In per¬ 
usal of an annual, we may be impressed by the 
careful structure and make-up, the type ar¬ 
rangement, the well selected photos, the clear 
engravings, or the pleasing balance of copy and 


Draftsmanship—Let us consider the style 
of cartoon we want to adopt. As to drafts¬ 
manship, try to keep the pict ures p imple and 
neat. The.fewerstrckes^lfcthc-peir— the snap¬ 
pier the fin ished reproduction- - Let us urge our 
artists to omit unnecessary shading and “cross- 
hatching”, which gives a drawing an amateur¬ 
ish appearance. Keep every cartoon as nearly 
possible in clean pen outline, with a solid bit 
of black here and there to lend color to the 
work and to avoid monotony. 

“ Captions —The more ynn boil -down the 
sap the richer will be your syrup. Likewise 
with your caption, the briefer the caption the 
better the joke. 















62 


Building a College Annual 


“A Few Don'ts —Don’t try to be funny. 
Forced humor is worse than no humor. 

“Don’t hurt the feelings of a sensitive per¬ 
son. Use discretion as to your choice of sub¬ 
jects. 

“Don’t let your drawings be over-grotesque. 
Keep them within the confines of human 
nature. 

“Don’t overstep the bounds of wholesome¬ 
ness in humor. 

Retouching 

Slight imperfections and defects in photo¬ 
graphs may be remedied and backgrounds 
may be changed by retouching. Spots, tele¬ 
phone poles, signs and rubbish can be removed 
and extreme highlights and other objection¬ 
able features eliminated. One person can be 
taken from a group without showing the other 
members; slight changes can be made in the 
arrangement of clothing, etc., but it is never 
safe to attempt to make any change in the 
faces. A large panoramic group can be artis¬ 
tically retouched to permit the making of two 
halftones, the left half to print on the left hand 
page and the right half on the right hand page. 

Almost every object, whether or not it re¬ 
quires the correction or improvement of detail 
by retouching, will lend itself to special treat¬ 
ment, such as vignetted foreground, the ad¬ 
dition of a border or other decoration, etc. 
Such work is usually classed as retouching 
and the charge for it depends upon the amount 
of artists’ time required. Better have your 
engraver do it. 

Reversing a Plate 

In halftones of portraits it is sometimes 
desirable, on account of the arrangement 
wanted, to have the picture facing the opposite 
direction from that shown in the photograph. 
This may easily be done in most cases in the 
making of the plate and with extra charge. 
With a portrait the only difficulty would be 
where the figure is shown using the right hand, 
in which case the reverse would make the 
person appear left handed. In reproducing 
buildings the result is apt to be confusing, 
especially should there be any lettering on 
the picture as the lettering would appear in 
reverse. This necessitates redrawing the let¬ 
tering reversed, and if the character of the 
picture is such that this cannot be done, then 
the whole picture should be redrawn. 


Some Don’ts 

Do not write on back of unmounted photo¬ 
graphs with hard lead pencil as the impression 
shows thru and reproduces in the halftone. 

Do not make any marks on that portion of 
face of copy which you wish to have repro¬ 
duced. When cut off marks are necessary, 
please place on margin or back of photograph, 
using soft black or blue pencil. 

To make outline or outline-vignette half¬ 
tones from photos of football, baseball, basket¬ 
ball players or similar subjects do not cut 
figures out of square photographs because the 
rough and uneven edges reproduce in the plates. 
It is impossible to cut accurately around such 
small features as an ear, nose or hair and there¬ 
fore it is best to leave this to the engraver. 
However, there should be a distinct difference 
between the color of any part of the figure 
and the background so that the engraver may 
follow the outline of the figure. Where this 
difference does not show in the photograph 
have your artist draw a white line around the 
figure or instruct your engraver to do so. 
Where an outline vignette halftone is desired 
it is also necessary to airbrush the photo for 
the vignette effect before the plate can be 
made. For such art work the engraver will 
charge over and above the cost of the plate. 

For mounting photographs^use heavy board 
which will lay perfectly flat when grouping 
is finished. If you do not choose a pattern 
(mounting board) from your engraver’s select 
stock, please bear in mind that both yellow 
and red board reproduce very dark, while 
blue often gives an uneven light tone. We 
would suggest that you confer with your en¬ 
graver before making selection. 

Do not arrange your prints too far apart or 
in the final reduction the photographs will be 
smaller than desired. Include only enough 
background around the subject to make it 
look well and still have the center of interest 
just as large as possible in the final reproduc¬ 
tion. 

When mounting your photographs in groups, 
be sure no paste squeezes out from under the 
edge of the photographs for it will show in the 
halftone even if wiped off the copy. Cover 
the entire back of photographs with paste 
when mounting. For mounting, use Library 
Paste. Do not simply put four or five dabs or 
spots of paste on the board, and then place 
the photograph over it, because the portion 
of the photograph not pasted down securely 
will have a tendency to rise and there will be 




Art Work — Grouping — Cartoons , etc. 


63 


a sort of wrinkle or crease around the edge of 
each spot of paste and that would show in the 
finished halftone. 

Photos must be securely mounted. Do not 
use a paste made of flour and water or similar 
mixtures because photos fall off the mount 
and if not marked on the back for position, 
the engraver is unable to remount without 
consulting you and such procedure causes 
delay. A little LePages Liquid Glue mixed 
with library paste makes a very good paste 
to use for mounting photographs. 

All groups should be mounted up perfectly 
square and true and should be exactly in the 
proportion desired. The engraver can change 
the size but not the proportion. 

Do not put white line around photographs 
in groups. The very fine white line around 
portraits is tooled by the engraver. 

Do not put black lettering on dark back¬ 
ground board. Names and captions written 
under portraits, snapshots, views, etc., should 
be on white background board. Such letter¬ 
ing or writing should be heavy enough and 
large enough so when reduced it will be read¬ 
able. 

Typewrite or print all names, titles or cap¬ 
tions which the engraver is to draw. Such 
letters as i’s, and e’s, u’s, m’s, n’s, w’s, etc. 


are quite often written alike and it is difficult 
to distinguish one from the other, and there¬ 
fore, the engraver can not be responsible for 
errors when only written copy is furnished. 
Typewritten or printed copy will avoid errors 
and delay. 

The engraver cannot make a square halftone 
from a portrait photograph that has been 
ovaled, unless there is sufficient margin or 
background to permit him to square up the 
plate. 


Other Things to Know 

The Art Editor who thoroughly understands 
the requirements of his work should carefully 
study the following articles in the Chapter on 
Engravings. 

Styles of Engravings 
Duographs 

Three Color Halftones 
Cartoons and Titles 
Ordering Engravings 
Numbering Copy 
Marking Copy 
Engraving Terms. 















































* 





























































































































































































































































































































* 


























CHAPTER VIII 

YOUR PHOTOGRAPHS 


(We suggest that the Editor-in-Chief have the 
Photograph Editor study this Chapter care¬ 
fully.) 


The Photograph or Snap Shot Editor 

The Annual is a picture book and the work 
of the Photograph Editor can make or mar the 
book; therefore, the person responsible for 
the pictures should thoroughly appreciate the 
importance of his position and use his best 
efforts to fill the book with perfect and interest¬ 
ing pictures. 

The position of Photograph Editor is more 
strenuous and requires much more work,more 
careful planning and more technical knowledge 
than is usually anticipated. He must expect 
to give much time and real study to his part 
of the work in order to make his illustrations 
possess a harmony and symmetry that will 
please. 

If possible, the Photograph Editor should be 
a real good amateur photographer and at the 
same time a good manager or executive. 

The photograph Editor to work most effec¬ 
tively should be elected a year in advance. 
The reasons for this will be seen hereafter. 


Consultation with Editor 

The picture men should immediately after 
election arrange to have meetings with the 
Editor and Art Editor and carefully plan the 
photographic work. A preliminary or tenta¬ 
tive dummy should be made up showing how 
the various school activities are to be represent¬ 
ed in the book, the amount of space to be given 
to write-up and pictures and the exact size 
and shape of each picture should be deter¬ 
mined and a careful list made giving this in¬ 
formation. With this list as a guide positive 
and clear instructions can be given to the 
photographer so that he can make his individ¬ 
ual pictures, groups and scenes of a size and 
shape to conform to the determined plan. 
Unless the photographer has this information 
he may make groups higher than they are 


wide when they should be wider than they are 
high, and vice versa. 

Consult Engraver Early 

If you select your engraver early and he is 
a real college expert, his experience in handling 
the picture part of Annuals will make his ad¬ 
vice and assistance of the greatest value and 
you should at once get in touch with him. 
To make your work and that of the Editor 
easy he will take your list of pictures and the 
tentative plan of your Annual and make up a 
complete dummy, embodying in this new and 
unique suggestions for arrangement, posing, 
style, etc. of your pictures. 


Selecting Your Photographer 

The average photographer is by training 
and experience a portrait man, one who strives 
to make attractive pictures to frame, put on 
an easel or in a folder. He knows little about 
the limitations or possibilities of the halftone 
and printing reproductive processes and does 
not know that many pictures which are works 
of art from his standpoint may be entirely 
unsuited to engraving and printing. He pays 
little, if any, attention to the fact that your 
pictures must come within certain prescribed 
and predetermined limitations as to size and 
shape. He does not know that certain light¬ 
ing effects, styles of photo paper, backgrounds 
and shades of tone reproduce much better 
than others. 

In selecting your photographer, therefore, 
get the very best you can and impress on him 
the importance of co-operating with the en¬ 
graver and giving the engraver the kind of 
pictures that will make the best engravings. 
To do this the photographer may at times have 
to sacrifice his own desires to produce a picture 
that is beautifully artistic, but for your pur¬ 
pose impractical. 

Get An Early Start 

If you are fortunate enough to be elected 
in the spring, there is a lot of real work to be 


65 



66 


Building a College Annual 


done besides just planning. The track team, 
and possibly the baseball team; the Senior 
play; commencement day, and many other 
activities likely have made school history too 
late to be included in the last Annual. As 
the various events happen see that good pic¬ 
tures are obtained and file them with names 
properly spelled and a correct write-up while 
the affairs are fresh in your mind. If you are 
not on the job all the time, some of the most 
interesting phases of the school year may be 
overlooked or improperly reported. 

Many outdoor scenes, campus views, class 
trips, etc., are more attractive when made in 
the early spring or summer months and should 
be made before vacation begins. Before school 
closes have a talk with the entire class and im¬ 
press on them that during vacation you want 
them to save up a lot of interesting snaps and 
bring back to you in the fall. 


Picture Day 

After the picture part of your Annual is 
all planned and a complete list of each picture 
with its size and shape, and after you have 
thoroughly rehearsed all your plans with the 
photographer, arrange for a Picture Day, in 
co-operation and with the approval of the 
faculty, making this a holiday if possible. 
Advertise this in advance and make up a 
schedule of the hour and place where each 
picture is to be made, notifying everybody 
as to just what part they have in the plan. 

The position of each group should be select¬ 
ed in advance, where there will be an attractive 
background that will make the people in the 
picture stand out prominently and in pleasant 
contrast to the background. The scenes should 
be set for the picture. If on the campus, the 
ground should be cleaned up, grass cut and 
everything removed that is not wanted in the 
picture. If a building is in the background, 
see that window curtains are properly arranged, 
chalk marks removed from walls, porch furni¬ 
ture properly set, and above all when ready to 
snap the picture see that the ubiquitous but- 
tinsky, who does not belong in the picture, 
is invited to get out of vision of the camera. 

When the photographer is arranging his 
group, be sure that he understands the exact 
size and shape of the engraving that is wanted, 
so he can arrange his group in such a way 
as to get a picture in the proper proportions 
as to width and height. 


Tell the photographer to observe his group 
when posed and see that no heads or faces are 
hidden, that hats do not shade the faces, and 
that those in the foreground have their hands, 
feet and clothes properly arranged. 

All groups should be made early in the fall 
while the leaves are still on the trees and out¬ 
door scenes are still pleasing and warm. 


Margin of Safety 

It is very necessary that you allow a margin 
of safety in time to provide for the contingen¬ 
cies, accidents, and disappointments that al¬ 
ways arise at unexpected times to upset your 
plans. The photographer with whom a con¬ 
tract has been made may not prove dependable; 
the various college organizations may be un¬ 
able to get together for group photographs, 
owing to absence of some member; a negative 
may not be satisfactory, and may have to be 
made over several times before it pleases the 
individual or organization paying for its in¬ 
sertion. The Photographer owing to pressure 
of other orders, especially during the holidays, 
will often lay the school work aside. 

Thus it is evident that no member of the 
Editorial Staff needs a greater margin of safety 
in the all-important factor of time than the 
Photograph Editor. All photographs and 
drawings must be completed, arranged, marked 
for sizes and positions, numbered and sent to 
the engraver and the engravings made before 
the printer can even start making the book 
up into page form. 


Making Portraits 

As portraits are usually made in a studio or 
in a specially selected room, the making of 
individual pictures should not be attempted 
on Picture Day. 

You should arrange with your photographer 
how many sittings he can make per hour and 
just what hours and days he will reserve for 
your work. You should then make up a type¬ 
written schedule in duplicate giving the name, 
day and hour when each student is to go to the 
photographer. One of these lists should go to 
the photographer for him to check off the sit¬ 
tings as made, the other to be retained by you. 
Give each student a written notice with day 
and hour of his appointment, and ask them 
to notify you in advance if they can’t keep 




Your Photographs 


67 


the appointment so you can send a substitute 
to take his time. This business-like arrange¬ 
ment will please the photographer and gain 
his good will and hearty co-operation. 


Suggestions To Your Photographer 

Your engraver will wish to co-operate in 
every way with your photographer, for the 
success of both depends on the manner in 
which the photographs reproduce. Making 
pictures for artistic or ordinary purposes is 
very different from making pictures for re¬ 
production. Soft mat tones and surfaces are 
desirable in portraits, but they never make 
good, clean-cut reproductions. 

If possible, have the photographer make all 
your prints glossy, black and white and squee¬ 
gee them. 

Semi-matte paper will work where glossy 
prints cannot be obtained, but anything like 
a rough or matte surface will come out muddy 
and blotchy looking in the engraving and must 
not be used. 

The best kind of photographs for reproduc¬ 
tion are those that have plenty of detail. 
Especially is it important to get detail into the 
shadows. It is possible to liven up a plate 
that has lots of detail in it, by careful re-etch¬ 
ing, but photos that are very contrasty often 
have a chalky appearance in the halftone, 
the shadows being so dark and high-lights so 
white that the detail is lost in both. 


Size and Shape of Portraits 

The photographer must know to what size 
and shape the picture is to be reduced before 
making it, if you wish to avoid trouble. As a 
rule, the photograph should be about one-third 
larger both ways than the dimensions of the 
engraving to which it is to be reduced. Em¬ 
phasize the fact that it is the head you wish 
to show in your picture and not the background 
or figure, and that in making portraits the 
heads should be of uniform size from chin to 
top of head and of a general uniformity in style 
of pose. 


Background for Pictures 

All portraits that go in panels or groups 
should be made against the same background, 


for, if some pictures in a group are light and 
others dark, the group will have a very spotty 
appearance and look very bad in the book. 
As a rule light gray backgrounds in panels and 
groups look much better than dark. 

For vignette and cut-out halftones a light 
background must always be used. 

Where portraits are to be cut out into oval 
shape for panels or groups, it is very necessary 
that the print be made on paper sufficiently 
large to allow for the oval extending above 
the top of the head. 

There is no set rule for backgrounds except 
this general injunction. The background 
should be of a tone to show a contrast to the 
important part of the photograph. Many 
photographers sacrifice clearness for the so- 
called artistic effect, but the Photograph Editor 
who can induce his photographer to make 
clear, strong photographs with a contrast be¬ 
tween the background and the image will get 
superior plates for his trouble. 

A medium gray background is the one that 
gives best results all around. If the back¬ 
grounds are too dark, they get muddy in the 
printing, and if too light will look spotted or 
faded. The gray tone that results when the 
strong skylight is thrown on a flat, black back¬ 
ground is about the right one. This same tone 
should be used for groups as well as individuals. 

Spotted or fancy modeled backgrounds, or 
draped background cloths, are not desirable 
in pictures for reproduction. Light back¬ 
grounds may be used if the photographer will 
keep lots of detail in the faces. 


Style of Prints 

Prints ordinarily furnished by photographers 
lack sufficient detail and strength for repro¬ 
duction. Rough papers are poor for detail 
because they do not reflect light nearly as 
well as the highly polished papers do. 

Photographs with blue or yellow tones should 
not be sent for reproduction. Blue is photo¬ 
graphically black. It is impossible to secure 
graduations of tone in engravings made from 
prints showing these colors. 

Extraordinary effort should be made to ob¬ 
tain photographs of uniform color, tone and 
style of finish, with heads of uniform^size for 
class or faculty series and for “groups”. This 
cannot be emphasized too strongly. The ap¬ 
pearance of such pictures in an Annual will 




68 


Building a College Annual 


be greatly enhanced if the editors are especially 
careful in respect to these photographs. 

Securing good photographs, especially por¬ 
traits, is one of the most important steps in 
developing an Annual. Every student or teach¬ 
er whose portrait appears in the book is in¬ 
terested in that portrait, and if displeased, 
may be a harsh critic. 


Plenty of Snaps 

Spring is best to collect the snap-shots that 
make your book so popular—folks don’t take 
so many good pictures in the winter time, you 
know. Everyone likes to have his picture in 
the book, and he treasures the book longer if 
it has something about him in it—something 
besides mere statistics. The more pictures of 
people you get into your book, the more boost¬ 
ers you will have for your book. Get a snap¬ 
shot of everybody in school, and everybody 
will say you published a good book. Better 
fill the book with pictures even if you have to 
cut down the number of pages of reading mat¬ 
ter or leave out some of the color work. 

An Annual should be edited with a camera. 
It should be a story in pictures of one year’s 
history at your school, just as the Fox Weekly, 
the Pathe Weekly and other news reels you 
see in the movies each week show the important 
happenings throughout the world. 

The book which has the most catchy photo¬ 
graphs in it, in addition to the photographs of 
the class, the groups, etc., will be considered 
the most successful book. No one ever tires 
of good pictures, while humorous sketches, 
unless rarely well done, soon lose interest. 

Tell every student you want a dozen of his 
very best snap-shots, then you will have enough 
to make a selection that will give your book a 
wide range of interest and style. 


Trimming Pictures 

As the Art Editor usually makes up all 
groups and panels, he is responsible for the 
trimming of pictures, but a word on the sub¬ 
ject here will do no harm. 

Magazine Art Editors aren’t afraid to trim 
off shoulders, hands and backgrounds until 
only the most interesting things are left—the 
strong features of the individual. For the 
same reason panel designs should be simple 


and not attract attention away from the pic¬ 
tures. A lot of “curlymacues” and ornaments 
twisted around the portraits may warm the 
heart of your artist, but they don’t add effect 
to your book. They destroy it. Ordinary 
straightline designs on plain gray mounts with 
a little decoration are best. 


Groups and Panels 

In the Art Editor’s section we give full in¬ 
structions on how to make up groups ready for 
the engraver and explain all about proportion¬ 
ate reduction, etc., and while your duties may 
be confined to the getting together of the photo¬ 
graphs and pictures, you should carefully study 
all the requirements of the Art Editor and 
engraver so that mistakes in pictures may be 
avoided. 


Uniform Reduction 

Read your contract for engravings and you 
will find that on small pictures such as individ¬ 
ual portraits, snaps, panels, etc. there is a 
very considerably cheaper rate for the engrav¬ 
ings if all pictures are made uniform in size 
and style so that the engraver can reduce a 
lot of them in the same focus. This is an item 
well worth watching in making pictures. Ask 
your photographer to co-operate with you. 


Sending Copy to the Engraver 

The Business Manager has been advised to 
place in the hands of one person the duty of 
making out all orders for photographer, en¬ 
graver and printer so that a regular system 
can be followed and an accurate record kept 
of all orders placed. You should send all your 
orders through the person selected. 

All photographs, drawings and other copy 
for the engraver should be marked with serial 
number, description and size of plate required 
and all orders should be sent in on the blanks 
furnished by the engraver. 

The engraver may be handling pictures for 
a hundred Annuals, and copies improperly 
marked and identified cause endless worry and 
needless correspondence. 

When lettering is to be added to a negative 
to be reproduced in all prints from that nega- 





Your Photographs 


69 


tive, it will appear in white on the print if it 
is put on the negative in black or opaque, or 
in black on the print if transparent on the 
negative. Unless such lettering is neatly done 
on. the negative, it is advisable to have it 
painted on the print by an engraver’s artist. 

While it is possible to make halftones from 
flashing pictures, as a rule such pictures are 


not very good subjects for reproduction. There 
is a tendency towards glare, very strong con¬ 
trasts and a lack of detail which makes it 
difficult to secure a satisfactory halftone. How¬ 
ever, there are some occasions such as stage 
scenes where no other kind of picture is avail¬ 
able, and when this is the case a flashlight 
picture may be used for the halftones. 

























































































































































- 





































































































CHAPTER IX 
ENGRAVING 


(Editor’s note. We suggest that you as 
Editor-in-Chief have your Art Editor study 
this Chapter with the greatest care. Let him 
refer to it often. A good understanding of en¬ 
graving requirements will help him make draw¬ 
ings for reproduction correctly.) 


ZINC ETCHING 

The Principle of Etching 

A technical knowledge of engraving is not 
absolutely necessary for the Art Editor to 
have in order to produce drawings which are 
reproducable, yet it is well to know something 
of the process. Such knowledge will certainly 
help him. In this Chapter we will therefor 
give some of the simpler points of engraving 
and it will be well for the Art Editor and in 
fact for all the Staff artists to study them care¬ 
fully. 

The process of reproducing a picture by the 
photo-mechanical method of engraving is sim¬ 
ilar to that of making an ordinary photograph 
with the addition of the etching process which 
is merely the cutting away with the acids of 
those parts of the metal plate which are to 
form the highlights of the illustration. First, 
a negative, which corresponds to the photo¬ 
graphic negative is made by photographing 
the copy. A print is then made on a sheet of 
metal coated with a sensitized solution which 
corresponds to photographic print paper. The 
etching and other finishing operations then 
follow. 

Both line etching and halftones depend upon 
the principle that a solution of organic matter, 
such as gelatine or albumen, in which has been 
dissolved certain chromatic salts will, after 
drying and exposed to the light become in¬ 
soluble in water. When a dry film of such 
chromated gelatine, therefore, is exposed to 
the light under a photograph negative, the 
parts of the film which have been acted upon 
by the light through the clear or partially clear 
parts of the negative become insoluble and 
remain unaffected when the soluble portions 
are washed away. 

The line etching is the simplest and least 
expensive method of making printing plates 


by the photo-mechanical process. Because 
they are usually made on zinc they are com¬ 
monly called Zinc Etchings. However, they 
also can be made on copper, the process being 
exactly the same except that more time is 
required for etching the harder copper plate 
which makes it comparatively higher in price. 
Copper is preferable to zinc for line etching 
when very fine lines are desired. It is impos¬ 
sible to hold such lines on zinc, which is a softer 
and more brittle metal than copper. A line 
etching on copper will last longer than one on 
zinc and will give softer effects in the delicate 
detail in printing. Line etchings are used to 
a large extent for newspaper work and for 
designs or illustrations to be printed on rough 
finished paper. They electrotype and stereo¬ 
type better than halftones as they are deeper 
and have less delicate details. 


The Process 

While a detailed description of this process 
would not be appropriate here it will not be 
amiss to give a brief outline of the method. 

First, the copy is photographed in such a way 
that the resulting negative will be the exact 
size of the plate to be made. Strong electric 
light with reflectors throwing the light on the 
copy are used in making the exposure. The 
photographic plate is then developed in a dark 
room by a washing process similar to that used 
in kodak photography. After the plate has 
dried, the film side is then given a coating of 
a transparent solution of rubber cement to 
give it a body for stripping, allowed to dry and 
then given a coating of stripping collodion 
which is also allowed to dry. In drying, these 
coatings become a part of the negative film. 
The plate is then immersed in a weak solution 
of acetic acid and allowed to soak until the 
film can easily be removed in a sheet. The 
film is then removed from the negative glass 
and laid on a piece of thick plate glass in a 
reverse position so as to give a position print¬ 
ing at the final outcome. After the film has 
dried thoroughly, we are then ready to pro¬ 
ceed with the printing. 

A piece of zinc, usually about one-sixteenth 
of an inch thick and polished on one side, is 


71 



72 


B uilding a College Annual 


then sensitized on the polished side with a 
bichromated solution and dried. The sheet 
of zinc is somewhat larger than the finished 
plate is to be to allow for margins and space 
for handling. The negative on the plate glass, 
film side up, is then placed in a printing frame 
which is supplied with a thick and perfectly 
transparent glass. Next, the sensitized zinc 
plate is placed in the printing frame directly 
on top of the negative, the sensitized side of 
the zinc and the film side of the negative being 
placed directly together, perfect contact and 
sufficient pressure assured by means of clamps. 
The printing frame is then set on edge and the 
face is exposed to a strong electric light which 
penetrates the thick glass in the printing frame 
and the glass on which the negative has been 
stripped, passing through the negative to the 
sensitized zinc plate. 

The printing being done, the metal is then 
inked from a roller and placed in cold water, 
after which parts of the sensitized coating not 
effected by the light may be rubbed off with 
a soft brush or a tuft of cotton. Wherever 
lines of the print appear on the plate it will not 
be effected by the chemicals used in the etch¬ 
ing. The back and edges of the plate are made 
impervious to the acid by painting with a 
resist. This resist is also applied to all large 
flat surfaces on the plate that are not to print 
leaving them to be routed out later with a 
machine instead of being etched out chemi¬ 
cally. 

The plate is then dusted with “dragon’s 
blood”, a resinous powder which adheres only 
to the printed parts and which is baked or 
burned in by holding it over a fire, thus com¬ 
bining the dragon’s blood with the ink. The 
plate is then placed in nitric acid contained 
in a rocking tray, with the acid running first 
in one direction across the face of the plate 
and then the opposite. Or it may be placed 
in an etching machine where the acid is sprayed 
against the surface of the plate. After the 
plate has received this first immersion—“bite” 
as it is called by the engraver—it is removed 
from the acid, washed off clean with water and 
is again dusted, baked and given a second 
“bite”. This process is repeated until all 
metal not used in actual printing has been 
etched deep enough to prevent showing in 
the print. While one or two bites may be 
sufficient for a shallow plate, a deeply etched 
plate may require five or six or more. If 
the plate was not etched by “bites” and the 
entire depth obtained by one application of 


the acid, the chemical action of the acid would 
spread and cut under the lines that are to 
remain. 

After sufficient depth has been given the 
plate by etching, it is mounted on a block 
about type high and placed on the routing 
machine—a rapidly revolving drill-like tool— 
where the surplus metal in the large flat sur¬ 
faces which were not etched out chemically is 
routed away. The plate is then removed from 
its temporary base and mounted permanently. 
It is then ready for the finisher who carefully 
inspects it, comparing it with the copy and 
cleaning up such lines as may be imperfect 
through improper action of the resist, slips in 
routing, tooling of surplus metal and soldering 
in parts that have been unintentionally etched 
or routed away. It is then ready for proofing, 
final inspection and shipment. 


Reversing Colors 

It is possible to reverse the relation between 
blacks and whites in making the etching. For 
example, if copy with black lines on white 
background is furnished for an etching, the 
plate can be made to print with white lines 
on a solid black background and by the same 
treatment a copy which shows a black back¬ 
ground and white lines may be reversed. When 
a black background and white lines are desired, 
it is better to use white paper and make the 
drawing with black lines as this combination 
is much easier to work with than white ink 
on black paper. On account of the additional 
labor required, an extra charge is made for 
reversing colors in making etchings. 


Combination Plates 

A combination plate is one in which a half¬ 
tone and a line etching are combined in the 
plate for printing in one color. The style also 
includes various other kinds of plates in which 
more than one process is used to obtain spe¬ 
cial effects, whether printed in one or more 
colors. By the use of combination plates it 
is possible to secure some very effective results 
as they unite good printing qualities with ef¬ 
fective illustrating qualities. Special effects 
may be obtained in numerous ways. Plates 
that have been made by different processes, 
such as halftones, line etchings, electrotype, 
etc., may be mounted together, or line and 




Engraving 


73 


halftone negative may be stripped together 
to make the print on metal to be etched. 

Combination plates for printing in one color 
may be made up of two or more plates that 
have been made separately, either on copper, 
zinc or both and then mounted together on 
one base for printing. They also may be made 
by stripping two or more negatives together, 
part line and part halftone, printing from the 
combination negative on one sheet of metal, 
using either copper or zinc, and then etching 
the line part of the plate as a line etching and 
the halftone part as a halftone. 


HALFTONES 
Time of Origin 

The halftone receives its name from the 
fact that a finished engraving made by this 
process duplicates not only the solid blacks 
and whites, but also the half tones, or inter¬ 
mediate gray shades, producing an effect that 
approximates an actual photograph. By means 
of the half tone process it is possible to repro¬ 
duce the details of a photograph, drawing, 
painting or an object itself, including all the 
graduations of color. 

The process is comparatively new, plates 
made by this method first coming into general 
use about 1890. However, the adaptations 
and improvements of the process have been 
rapid and continuous, and it is now used in 
numerous ways both as a separate process and 
in combination with other processes of illus¬ 
trating. 


The Halftone Screen 

In making a halftone negative, the copy is 
photographed through a cross lined screen, 
the various tones of the picture being trans¬ 
lated into dots which vary in size from the 
smallest pin points in the high lights to larger 
ones in the darker portions or middle tones, 
blending into solid color in the darkest parts 
of the picture. 

The halftone screen in most common use 
is made of two planes of plate glass cemented 
together with a transparent cement. On the 
surface of one side of each plane parallel lines 
are engraved which are made opaque by being 
filled with a black pigment. In cementing 
the two planes together, the lined surfaces are 


placed face to face, with the lines on one plane 
running in one direction and those on the 
other at right angles. The lines are usually 
ruled diagonally on the plates instead of par¬ 
allel to the edges,as this arrangement permits a 
larger negative being made by placing the 
object straight with the plate than would be 
possible if it were necessary to expose it in a 
diagonal position in order to get the correct 
angle of screen lines in the plate. 

Screens are designated by the number of 
engraved lines to the inch. For instance, on 
a 120 line screen, there would be 120 parallel 
lines to the inch, each way, while on a 133 line 
screen there would be 133 lines to the inch. 
The screens most commonly used are 120, 
133, and 150 line. Illustrations on the fol¬ 
lowing pages show a picture reproduced by 
eight of the different screens employed in 
commercial work, including a metzograph 
screen. For school and college publications 
we usually use 133 to 150 line screen, depend¬ 
ing on the paper to be used in the Annual. 
Much depends on the paper to be used in the 
printing. A fine screen half tone properly 
printed on a high quality of enameled paper 
will give the most nearly perfect results, but 
if improperly printed, or with a poor grade of 
paper and ink it will be very poor and lose 
its character. Coarse screen halftones may be 
used on a good quality of paper, but the print 
will be coarse and detail will be poor. It is 
always advisable, therefore, to use as fine a 
screen as the grade of paper and the probable 
skill of the printer will warrant. The coars¬ 
er the paper and the thinner the ink, the 
coarser the halftone should be; the smoother 
the paper and the stiffer the ink to be used 
the finer screen in the plate may be. 


The Process 

In making a halftone negative, after the 
camera has been focused to obtain proper size 
and sharp detail on the ground glass, this glass 
is removed. The proper screen is. placed in 
the camera, its position being just in front of 
where the plate is to be. The plate holder is 
then placed in the camera so that the plate 
occupies exactly the same position as was oc¬ 
cupied by the ground glass. The light is then 
turned on and the exposure varying from five 
to ten minutes depending upon the nature of 
the copy, the screen used, plate, etc. 




74 


Building a College Annual 


The cross lines of the screen intercept the 
light and each minute square between them 
acts as a diaphragm through which the light 
from the camera lens passes to the negative 
and forms on it, in very small compass, that 
part of the image as seen through the lens 
diaphragm of light opening. While the open¬ 
ings between the lines of a given screen are all 
of the same size, the properties of the light 
are such that the stronger rays which come 
from the high lights of the copy spr.ead out 
and make spots in that part of the negative, 
while those from the dark spots of the pic¬ 
ture make an impression that appears as a 
series of microscopic points. In making the 
printing plate these conditions are reversed, 
and the high lights are represented by the 
smallest points which grow larger as they 
blend off into the darker tones. 

The process of making a printing plate from 
the halftone negative is substantially the same 
in principle as that used in making a line 
etching. After making the exposure and the 
negative has become dry, the film side is given 
a coating of liquid rubber cement and one of 
collodion, respectively. This is allowed to dry 
thoroughly, after which the plate is then placed 
in a weak solution of acetic acid and allowed 
to soak until the film becomes loose so that 
it may be easily removed from the glass. The 
film is then stripped off the original negative 
glass and placed upon a piece of plate glass, 
reversing the film in the operation. If the 
film was not reversed, the finished plate would 
read backwards. Often times it is desired to 
have a subject face the opposite direction than 
that shown in the copy. This is accomplished 
by not reversing the film when it is stripped. 
As stated heretofore, if there is any lettering 
or text on such a picture, it will read back¬ 
wards if the cut is reversed, unless first drawn 
backwards on the original. A right handed 
man will be made left handed and similar 
awkward situations will result if reversed 
plates are ordered without giving due con¬ 
sideration to these facts. 

Next, a sheet of polished metal, usually cop¬ 
per, is sensitized and a print made on this from 
the negative in the same manner as described 
in making a print on metal for a line etching. 
After being developed and given the necessary 
coatings to resist the acid, it is placed in a 
chloride of iron bath, the acid flowing gently 
back and forth over the surface by the aid of 
a soft brush or by rocking the tray, or if in 
an etching machine, it is subjected to washes 


or sprays of acid which eat out the metal 
between the dots and lines in the print on the 
plate. In etching a halftone plate the first 
bite is known as a flat etch, just enough depth 
being given in this operation to get the depth 
required for the shadows. After being flat 
etched, the plate is taken from the acid bath 
and washed with water to remove all acid. 
It is then re-etched by hand, by applying the 
acid to the different parts of the plate to obtain 
the amount of contrast and detail that is de¬ 
sired. After the desired results have been 
secured by re-etching, the plate is again placed 
in the acid and etched to obtain depth. For 
service ability good depth in etching is es¬ 
sential. 


Outlining and Finishing 

After the etching of the plate has been com¬ 
pleted it is then ready for the finishing touches. 
If it is to be a square finished halftone the 
surplus metal is cut away with a saw and is 
then trimmed and beveled around the edges 
to provide shoulders for tacking it to the block 
on which it is to be mounted for printing 
purposes. If the plate is to be finished with 
a black border line, the un-etched metal that 
has been left outside the part that is to print 
is trimmed to leave just sufficient amount of 
it for the line which is finished to uniform 
width. If the plate is to be finished in outline 
or vignette, the etched plate goes to the finisher 
from the etcher, and the background to be 
removed is separated from the part that is 
to remain in the plate by outlining with a steel 
tool. This will indicate to the router the parts 
that are to be routed away so as to leave only 
that part that is to be used in printing. 


Style of Finish 

By this we mean the manner in which the 
outer edges of the plates are left in the finished 
engraving. There are many different styles 
by which a variety of pleasing effects may be 
obtained. Many of these styles are illustrated 
on the next pages. The most simple and 
cheapest is the square finish, a term used to 
define a rectangular halftone. The square 
halftone may have a thin black line border 
without extra charge. 

A plate with all the background cut away, 
leaving only the object illustrated to print, 
is termed an “outline finish” halftone. 




Engraving 


75 


“Vignette” halftones are of two kinds; first 
a soft “vignette” where the edges completely 
blend off into the paper on which it is printed; 
second, an abrupt “vignette” where the edges 
are jagged and irregular. Copy for vignetted 
halftones must be vignetted before the plates 
are made, and they should be ordered only 
when the subject lends itself to such treatment. 
This work should be done by the engraver’s 
artist. There is an extra charge for such work. 
Oval plates are more expensive than square 
finish,while vignettes and outlines are higher in 
price than oval. 


Mounting Plates 

Unless otherwise ordered half tones are 
mounted on w r ood, type high, for delivery. 
All plates with the exception of very small 
ones have “shoulders” about one-eighth of an 
inch wide extending beyond the extreme edges 
of the printing surfaces. Through this “ should¬ 
er” the plate is nailed to the wood block. As 
a rule small plates, two inches wide or less, 
are nailed top and bottom only, while on the 
sides, the wood block is sawed even with the 
edges of the printing surface. 


The Metzograph 

A metzograph is a printing plate made on the 
same principle as the halftone, the only differ¬ 
ence being that a grained screen is employed 
instead of a cross lined glass screen. This 
eliminates the geometrical line effect notice¬ 
able in halftones, particularly in those of coars¬ 
er grade. The metzograph is used chiefly for 
tint or color plates to work with old or new 
plates and for reproducing prints from half¬ 
tones, wood and steel engravings. In those 
cases, if the ordinary halftone screen were used, 
it would be likely to give a pattern of more 
effect because the lines in the screen would 
conflict with those in the copy. They may 
also be used for making plates of crayon and 
pencil drawings and exterior views where fol¬ 
iage predominates. They are printed in the 
ordinary way on the letter press and may be 
made with fine, medium or coarse screen, there 
being a variety of grain textures procurable. 


The Prism 

When a negative is stripped on another glass 
plate to secure a correct instead of a reversed 
image for the finished plate, there is generally 
more or less stretch or shrinkage. Therefore, 
to avoid the necessity of stripping the negative 
with its consequent loss in accuracy, it is neces¬ 
sary to reverse the image at the. time it is 
thrown on the negative plate in making the 
exposure. This is done by the use of the 
“prism”, which is a mirror-like device at¬ 
tached to the lens. The prism is used in making 
negatives for process color plates, or for any 
kind of plates where accuracy is required. It 
assures a negative from which can be made a 
set of plates that will register properly. The 
prism is not generally used in making plates 
for one color work, for while there would be 
some advantages in not having to strip the 
negatives, yet the cost would be greatly in¬ 
creased since it would prevent the assem¬ 
bling of work which can be grouped and put 
through several operations. 


COLOR PLATES 

Color plates add much to the appearance of 
an Annual and should be used whenever the 
funds available will permit. However, if your 
funds are limited, be sure that all other ex¬ 
penses are taken care of before ordering color 
illustrations. It would be very unwise to use 
a cheaper grade of paper or cover stock, or to 
economize at any other point in order to get a 
few color illustrations into your book. How¬ 
ever, the color appeal is universal and if it 
is possible use some color in your book as it 
certainly will add interest. As a matter of 
fact the use of color has become general in 
the larger College Annuals. 


Line Color Plates 

When an illustration is to be printed in two 
or more colors, a separate plate is required 
for each color. The least expensive of all 
kinds of color printing is by means of line- 
color plates. This method is used principally 
for printing cover designs on rough cover paper 
and for illustrations on the cheaper grade of 
newspaper and book stock, although it may 
also be used' to excellent advantage on the 
better grades of rough and antique papers 
and enamel coated stocks. 




76 


Building a College Annual 


The number of colors in which an illustration 
in line may be printed is practically unlimited, 
although if beyond three or four it is usually 
more practical to use some other process. The 
negative for line-color plates is made in the 
same manner as for one color line etchings, 
and from this negative as many prints are 
made on sensitized metal as there are to be 
colors in the picture. Each print is then 
etched or routed to remove what is not needed 
in the production of the color for which that 
plate is to be used. After the various plates 
have been etched and routed they are blocked 
and finished in the usual way, each block being 
marked with the color in which it is to be 
printed. The plates are then proved in their 
respective colors in the order as may be re¬ 
quired, putting on the finished proof of the 
key plate last. The preceding color must be 
allowed to dry thoroughly before another is 
printed over it. It is possible to superimpose 
one color upon another and in this way obtain 
a tint that is different from any of the others 
by the combination of two colors. 


The Shading Machine or “Ben Day Ma¬ 
chine” 

The shading machine or “Ben Day” ma¬ 
chine, so called on account of the name of the 
inventor, Benjamin Day, is much used in line 
color work; its many patterns making it pos¬ 
sible to get an almost unlimited number of 
pleasing and effective combinations. By the 
use of this machine it is possible to relieve 
blank spaces in illustrations,make backgrounds, 
soften the unpleasant effect of large lettering 
and in short, to obtain almost any kind of 
special effect that may be desired. 

The principal feature of the Ben Day ma¬ 
chine is the films, or screen, which transfers 
the pattern to the copy or plate to be engraved. 
This film, or screen, is a thin transparent sheet 
of a gelatine-like substance stretched in a wood¬ 
en frame. The under surface of the film is 
engraved with the pattern while the upper sur¬ 
face is smooth. There are about 125 different 
patterns of the films in use in a variety of 
shades and effects. Some of these patterns 
are shown in back of this book. Your en¬ 
graver will show you others if you wish. 


Halftone Color Plates 

Halftones for printing in colors may be made 
from any kind of photograph, retouched photo¬ 
graph, wash drawing, oil painting, pastel, cray¬ 
on, (in black and white or color), or from any 
kind of copy from which a one color halftone 
can be made. As in the case of one color 
halftones, the copy should be somewhat lar¬ 
ger than the plate to be made from it. 


Two Color Process Halftones or Duo- 
Tones 


Two color work is used more often than any 
other, as it is not only possible to obtain very 
attractive and artistic results in a wide range 
of work, but the cost of making the plates 
and printing from them is much less than for 
three and four color, hence it is obvious that 
the greater number of colors used, the greater 
the cost of press work and plates. The covers 
on the Saturday Evening Post are reproduced 
in Duo-Tone. The colors used are usually a 
Black or Blue Black and Persian Orange. 
Other colors may be used however, for instance 
Black and Green, Blue and Red, etc. Your 
engraver will show you samples of Duo-Tone 
work. 

In two color halftones the plates are made 
either from colored or black and white copy 
to conform to the color scheme desired. The 
plates are made from the same colored copy 
in such a way as to reproduce in the combined 
print from them an approximate or exact re¬ 
production of the copy or scheme in its original 
colors. 

In making the negative from copy in colors 
a color filter is used. The filter may be either 
a segment of colored glass or colored liquid in a 
transparent container which is placed between 
the lens and the plate on which the negative 
is being made. The light first passes through 
the prism, then through the lens, and finally 
through the filter to the plate. The filters 
used are of different colors, depending on the 
colors in the copy, and the effect produced by 
their use is to subdue certain colors and to 
emphasize others, and to obtain the proper 
tone of each where a combination is necessary. 





Engraving 


77 


Three Color Process Halftones 

The three color process is based upon the 
principle that by properly combining the three 
primary colors, yellow, red and blue, it is 
possible to produce any secondary color. Three 
plates, one for printing in yellow, one in red 
and one in blue, are made in such a manner 
that when printed one over the other in the 
order named, and in proper register, they will 
produce the color tones represented in the 
original. In making the negatives, the screen 
is placed at a different angle for each color. 
For the blue or key plate it is placed at an angle 
of forty-five degrees, for the yellow plate a 
thirty degree turn is made, and for the red 
plate a further turn of thirty degrees. If the. 
copy is in colors, color filters are used in making 
the negatives, a green filter being used for the 
red plate negative, a red filter for the blue 
plate negative, and a blue filter for the yel¬ 
low plate negative. 


Four Color Process Halftones 

The four color process is merely an ampli¬ 
fication of the three color process wherein a 
fourth plate is used, this plate being printed 
in black. As this fourth plate is used as the 
key plate, it serves to strengthen the detail 
in the subject and also makes it possible to 
obtain many shades of gray that cannot be 
secured in using only the three primary colors. 
Four color reproductions are preferable to three 
color work because of the better results ob¬ 
tained and because of the fact that if the plates 
are to be printed in the same form with other 
color plates it will oftentimes be less expensive 
and more convenient to use four plates, even 
though an extra impression is required for the 
fourth color. In three color work it is necessary 
that all three plates carry correct graduations 
and color values, but in four color process 
plates part of the colors may be eliminated 
or omitted as the black plate carries all the 
shading and detail for the picture. The same 
color filters are used in making the negatives 
from copy in four colors as in the three color 
process. For the black plate negative an 
orange filter is sometimes used, and again it 
may be a green or a yellow according to the 
nature of the subject. The order of printing 
four color process plates is usually yellow first, 
followed by red, blue and black. However, 
this order may be changed and the black 
printed first, followed by the yellow, red and 


blue in the order named when transparent 
inks are used for the colors. Again, the black 
may be third in order. 


Progressive Proofs 

After Process Color plates have been etched, 
tooled, and burnished, routed and trimmed, 
they are mounted on wood blocks and final 
proofs made. As the proving is done, a sheet 
is preserved showing each step in printing the 
colors, and the complete series when assem¬ 
bled is known as a set of progressive proofs. 
In proving a two color halftone, a separate 
proof is furnished of each plate in its respect¬ 
ive color in addition to the proof of the colors 
combined. For a three color halftone there 
will be a proof of the yellow plate, one of the 
red and one of the blue, each in its respective 
color; also a proof of the yellow and red com¬ 
bined as well as the finished print showing the 
three colors combined. In a four-color proc¬ 
ess, separate proofs are made of the yellow, 
the red, the blue and the black, and if these 
colors are to print in the order named, a proof 
is made of the yellow, red and black in com¬ 
bination as well as the finished proof in four 
colors. With the aid of such a set of proofs, 
the printer can duplicate, in his work, the re¬ 
sults shown in the engraver’s proofs, for he 
is able to compare his work, step by step, 
with the proofs. By exactly matching each 
color and combination as his work progresses, 
he will know in advance that his finished print 
will compare favorably with the proofs. 


Printing Halftones—Color Plates 

It is not every printing establishment that 
can successfully print halftone color plates. 
This is due partly to the fact that there are 
comparatively few pressmen competent to 
handle them properly, especially three and 
four color process work, and also to the fact 
that many printing firms do not have the neces¬ 
sary equipment. Although a printer may have 
the theory and know how the work should be 
done, he may be hampered by lack of facilities 
and will not have the necessary practical work¬ 
ing knowledge of color and makeready for 
the successful handling of such work. 

The work of printing process color plates 
is usually so arranged that one color is printed 





78 


Building a College Annual 


just a day ahead of the color that is to follow. 
Each color must dry properly before the suc¬ 
ceeding color is printed, and it is almost as 
important that the work does not lie too long 
between colors as it is that it lie long enough. 
It is possible for it to dry and harden too much 
as well as not to dry enough. Although it is 
possible to print one color immediately fol¬ 
lowing another by using special inks, it is 
seldom practiced except where the press is 
built for printing two or more colors. Atmos¬ 
pheric conditions will also play an important 
part in the manner in which color printing 
may be handled, as it is practically impossible 
to produce good clean impressions in damp 
weather and to dry the printed sheets properly 
unless the press rooms are so arranged and 
regulated that outside conditions may be over¬ 
come. 

High grade enameled stock is required to 
bring out the possibilities of halftone color 
plates and produce the best results. Regard¬ 
less of the number of colors, the plates are 
usually made with a medium of fine screen, 
i.e. 133, 150 line or finer, but they can be made 
with any screen. Copy in colors is to be pre¬ 
ferred to black and white copy, as less re-etch¬ 
ing, burnishing and tooling is required and the 
printing plates consequently wear better. 


Electrotypes 

Electrotypes are frequently confused by in¬ 
experienced buyers with other kinds of print¬ 
ing plates. An electrotype is a metal case, or 
duplicate of a printing form, and it may be 
made from a wood cut, line etching, halftone, 
type form electrotype, or any other relief 
printing surface. It is made by taking an 
impression of the original plate in wax, then 
by an electrical process, depositing over this 
impression a thin shell of copper and after¬ 
wards “backing it up” with soft metal. It 
is then mounted on a wood or metal base type 
high. 


The Harmony of Colors 

In considering harmony of colors, it is neces¬ 
sary to remember that the finest harmonies 
consist of softened colors. These are tones 
in which gray has been mixed, or in which 
yellow, red and blue are all present to a certain 
extent. The softer or more neutralized the 
color, the larger the area it may cover. Strong 


and brilliant colors must be used in limited 
quantities, compared to the grayer, or subdued 
colors. The more brilliant the color, the less 
area it should cover if a beautiful result is 
desired. In this respect, it is important to 
note the practice of nature in this respect. 
The effect of color in nature is almost invaria¬ 
bly soft, quiet and gray. The use of brilliant 
flowers, birds and butterflies are only gorgeous 
accents in a large area of neutral, harmonious 
tones. The brilliant stretch of scarlet sunset, 
vast in extent, lasts only a few moments. 
Powerful colors must be dominated by large 
areas of quieter tones. The exceptions to this 
rule are few. 


Engraving Terms 

All of these words will be used at some time 
in your engraver’s correspondence with you. 

Art Work: Work by artist, grouping photo¬ 
graphs, making special drawings, correcting 
defects in photographs or drawings, etc. Usu¬ 
ally charged for on basis of time work. 

Ben Day Plates: Plates made by laying 
shaded tints on copper or Zinc, and etching 
them to produce colors or combination of colors 
when printed. 

Border: A design working entirely around 
the type page. Usually printed in different 
color of ink from type and engravings and 
appearing on all pages in book except ad pages. 
Where borders are used, as many electrotypes 
must be furnished as there are pages in a 
printer’s form, usually 8 or 16 plates. 

Color Plates: Plates made by the use of a 
key plate and color plates, either halftone or 
line. To be printed in two or more colors. 

Combination Plates (Black only): Plates 
made by the use of two or more halftones and 
line negatives, the films stripped together and 
printed and etched on copper or zinc plate. 

Copy: Photographs, drawings, groups, de¬ 
signs, etc., are “copy” for the engraver. 

Cover Stamp: A plate made in high relief, 
used by binders for stamping on book covers 
or similar surfaces. 

Cut: A term frequently but improperly 
applied to halftones, zinc etchings or electro¬ 
types. 

Duograph: Two halftone plates made from 
one copy and usually printed in black and one 
tint, or two shades of the same color, the two 
plates made with different screen angles. 




Engraving 


79 


Electro, Electrotype: A duplicate printing 
plate made from an etching or halftone. Usu¬ 
ally used for duplicate borders or head and 
tail pieces. An electro cannot be made from 
the original drawing or photograph. 

Embossing Plate: A plate etched or en¬ 
graved below its surface used in connection 
with a male die to raise or emboss paper or 
cardboard above the surface. 

Etching: See zinc etching. 

Ex Libris Design: A design in which the 
name of the owner can be written. Usually 
printed on the fly leaf or page one of the book. 

Folio Design: A design working at the top 
of each page in book and usually containing 
name of Annual. Where folio design is used, 
at least 16 plates must be furnished. Also 
called Head Piece. 

Four Color Process: Same as the three color 
process, with the addition of a gray or black 
plate..- 

Groma: Two or more photographs pasted 
on Wdieavy cardboard. A single halftone is 
then made from the complete group. Very 
desirable and artistic where a number of pic¬ 
tures go on same page. 

Halftone: An engraving made .by photo¬ 
graphic process from photographs, charcoal 
and wash drawing. 

Halftone (Square Plate): A halftone in 
which the outside edges are rectangular and 
parallel, may be with or without single black 
border. 

Halftone {Outline): A halftone with the 
background outside of the object entirely cut 
away, leaving a definite edge without shading 
or vignetting. Costs 50 per cent more than 
square finish halftone. 

Hal ftone fVignett ed): A halftone in which 
one (Jrrnore of the edges of the object are 
shaded from dark tones to pure white. Costs 
50 per cent extra. 

Halftone {Outline and Vignetted): A half¬ 
tone in which part of the background is cut 


away and part vignetted. Costs 50 per cent 
extra. 

Halftone {Oval): A halftone cut into oval 
shape. Costs 25 per cent more than square 
finish halftone. 

Hand Tooling: Any work done by use of 
a tool upon the plate increase the contrast of 
the etched plate. 

Head Piece: See folio design. 

Highlight-Halftone: A halftone in which the 
elimination of the dots in the highlights is 
accomplished by a photo-chemical process in¬ 
stead of by cutting them out with a tool. 

R &nel Design or Panel s: A design printed 
or drawn bnTieavy mounting board with space 
left in which to paste pictures. Usually these 
are used for Senior pages and occupy about 
one-third of the page. 

Reverse Etching: A plate from which the 
blacks of the original copy will print white and 
the whites will print black. 

Special Background: A design printed in 
some tint ink with engravings and type over¬ 
printing same. Usually employed to feature 
the Senior section. 

Three Color Process: Printing plates pro¬ 
duced from colored copy or objects to produce 
the picture or object in its original colors by a 
photo-chemical separation of the primary colors 
and etched halftone plates to reproduce each 
separate color; usually printed in yellow, red 
and blue. An approximate result may be 
obtained from one-color by using the skill of 
the workmen in securing the color values on 
the etched plates. 

Two Colo r Halftone: Two halftone plates, 
either or both plates an etched plate contain¬ 
ing parts or all of the design, to be printed in 
two contrasting colors. 

Vignettes Halftone with edges shaded away. 
CoSts-^e - per cent more than square finish 
halftone. 

Zinc Etching: An engraving made by photo¬ 
graphic process from pen and ink drawings. 
Also called Line Etching. 













CHAPTER X 


SHIPPING COPY 


Each engraver has an order system which, 
although alike others in general, still has some 
characteristic peculiar to his shop and method 
of doing business. We will not therefore at¬ 
tempt to give any set rules or any particular 
system for ordering engravings. That is some¬ 
thing which you and your engraver had better 
work out together. He will furnish you order 
blanks or stickers and will explain his system 
to you in detail. 

There are however some suggestions of a 
general nature which it is well to call to your 
attention and if followed will facilitate progress 
of the work. 


Record of Copy 

It will pay you well to be very careful in 
keeping a record of all copy sent your en¬ 
gravers. The best way to do this is to use a 
small note book, entering therein the number 
of the photograph or drawing, the name of the 
subject or scene, the date forwarded, the date 
of acknowledgement of receipt by the engrav¬ 
ers, the date proof is received, the date plate 
is received or ordered shipped to your printer 
and date of bill for the plate. Also provide 
a space in your record for the number of the 
page on which the plate is to appear in your 
book. The copy should be numbered on the 
back to correspond with this record. This will 
make it possible to identify any given piece of 
copy by number, and will often save you a 
great deal of time. A convenient method is 
to begin numbering photographs and drawings 
for halftones with H-l, and drawings for line 
etchings with L- 100 . While there is little 
chance of your copy getting lost or misplaced, 
a system such as outlined here will be a great 
convenience to you and will enable you to 
check up on your progress at any time. 

You will readily appreciate the fact that with 
the thousands of pieces of copy from various 
schools going through the engravers plant in 
various stages of completion, he cannot hope 
to recognize copy by merely getting the names 
of individuals or groups. However, if the copy 
is numbered, it can be easily located at any 
time. 


Marking Copy 

When copy is forwarded to the engraver 
it is absolutely necessary that he be given 
full information as to what you desire. For 
your convenience in accomplishing this, he has 
prepared copy labels which, if properly filled 
out, one for each piece of copy, will insure him 
of practically all information necessary to fill 
your orders. 

The only marks that must necessarily be 
shown on your drawings or photographs are: 
first, the “cut-off” marks or the short lines 
in the margin of the copy designating the 
amount of surplus background to be eliminated ; 
second, the respective copy numbers written 
very legibly with a very soft pencil on the back 
of the copy. 

The “width” of a copy is always referred to 
as the dimension of the picture from left to 
right, and the “height” as the dimension from 
top to bottom. It is not advisable to give 
both height and width for plates unless it is 
essential that the size be exact both ways, 
and when this is the case be sure that your 
copy will come to the size you specify. In 
determining this you can allow for trimming, 
if any is permitted. 

Many times when both dimensions are speci¬ 
fied the copy will not reduce to the size given. 
In such cases the engraver will make the size 
of the plate come within the sizes given. For 
instance, if a drawing measuring 12x16 inches 
is marked for a plate 6x9 inches, it is plain 
to be seen the copy could not reduce to the 
dimensions given, therefor, the plate would 
be made 6x8 inches which is the largest size 
coming within the size ordered. This is a 
standing rule with all engravers. 

Always give complete and definite instruc¬ 
tions for your copy. If you desire vignette, 
oval, square, with or without line, outline or 
any other style of finish, state so clearly. If 
a cut is to be partly outlined and partly vig¬ 
netted and you have a preference as to where 
the vignette should be, be definite on this point. 
It is always better to give full instructions, 
even though they may contain some non- 
essential information, than to give insufficient 
data. Make your wants plain and then he can 


81 



82 


Building a College Annual 


go right to work on your copy and no time will 
be lost in writing for further instructions. 


Methods of Forwarding Copy 

While copy may be forwarded by either 
mail or express, most engravers prefer that 
you forward your copy by mail, because of 
quicker transit and because it is received in a 
better condition. 

Shipments of photographs up to and includ¬ 
ing four pounds may be sent as third-class 
mail at the rate of two ounces for one cent. 
The package must not be sealed and there must 
be no writing inside except the pencil lines, 
designating the parts of the copies to be shown 
in the plates, the identifying names or numbers 
and the name of the sender or owner. A pack¬ 
age of photographs weighing over four pounds 
will be classed as fourth class matter and will 
take Parcel Post rates. 

Pen, pencil and wash drawings are classed as 
fourth class matter and may be forwarded at 
parcel post rates, however, the regulations re¬ 
garding writing or figures of a communicative 
nature are the same as given in the above 
paragraph. These drawings may be included 
in a package with photographs, in which case 
the package, if four pounds or less, must take 
the higher or third class rate of postage. 

It is often least expensive to forward very 
large and heavy packages by express, especial¬ 
ly if the distance is great. When this is done, 
however, be very careful to see that the copy 
is packed securely and that there will be no 
danger of being damaged by rough handling 
wfiile in transit. 

Two other advantages in forwarding copy 
by express are; first, the express regulations 
permit the marking of photographs so as to 
indicate the size plate is to be made or any 
other necessary instructions; second, the ex¬ 
press company issues a receipt so in case the 
shipment is delayed it can be traced or if it 
is lost damages can be collected. 

The best method of forwarding copy by 
mail is to wrap the copy in a package, unsealed, 
with the necessary marks and numbers on each 
piece of copy. Write your name and address 
carefully on the blank space of one of the ship¬ 
ping labels furnished you, then paste it on the 
package, preferably in the lower right hand 
corner. After this step, affix the proper amount 
of postage for a package of third class rate— 
if four pounds or under—or for Parcel Post 
rate, if over four pounds. Then in a separate 


envelope, place the copy labels properly filled 
out, one for each piece of copy, and if any 
other correspondence is included, relating to 
the work, refer to the different pieces of copy 
by their respective numbers. When this letter 
is properly sealed, addressed and stamped, 
paste it on the address side of the package 
containing the copy and when mailed the copy 
and instructions will arrive at one time which 
will greatly benefit the engraver. Bear in 
mind however, that both letter and package 
must be addressed and each showing the 
proper amount of postage. Only one special 
delivery fee is required on packages just de¬ 
scribed when sent as special delivery matter. 
Paste your letter securely—glue it on. 


Packing Copy 

Very careful attention must be given to the 
preparation of your packages for shipment. 
Wrap your photographs and drawings in good 
heavy paper, reinforced with plenty of cor¬ 
rugated board and carefully tied as a pre¬ 
caution against damage in transit. Always 
send photographs and drawings flat unless it 
is absolutely impossible to do so. Never send 
them rolled in a tube when it can be avoided. 
Never fold a photograph or drawing and be 
sure that all corners of unmounted photographs 
lay flat. Folding a photograph will invariably 
crack the surface. While a cracked photo¬ 
graph can be repaired to a certain extent by 
retouching, the crack cannot be entirely elimi¬ 
nated. Repairing cracks is slow expensive 
work. 

By using plenty of corrugated board and 
packing your copy carefully, you will be using 
wise judgment, as the packages are handled 
many times and none too carefully before 
reaching the engraver. 


Acknowledging Receipt of Copy 

Your engraver should, of course, acknowl¬ 
edge receipt of all copy as soon as it reaches 
him. If you do not hear from him within a 
reasonable length of time, it is well to call his 
attention to the matter so that he can look 
it up or have it traced. 


Time Required for Delivery 

The time required for delivery will of course 
depend upon the urgency of the case and the 




Shipping Copy 


83 


quantity and nature of the copy. It is always 
advisable to give as much time as possible, 
especially on large orders, as the best quality 
of work cannot be produced by rushing through. 
When it is necessary, however, a small order 
for one color halftones or zinc etchings can 
be completed within a few hours. 


Proofs 

As previously stated, your engraver should 
always furnish you with two proofs of each 
plate, one good proof to show its printing pos¬ 
sibilities and a rough proof to use in making 
up your dummy. In addition to these he 
should make two identification proofs, one to 
attach to your bill and the other to file with 
his job ticket for future reference if necessary. 
In color work he will supply progressive proofs 
showing the separate colors used for the differ¬ 
ent plates and their combinations so that your 
printer will know exactly what colors to use 
and to eliminate any uncertainty or guessing 
on his part as to how to obtain the desired 
results. 


Shipping Completed Work 

Unless otherwise instructed your engraver 
will mail proofs to the party ordering, immedi¬ 
ately upon the completion of the plates and 
will hold plates and copy until a quantity 
sufficient to make a good sized shipment has 
accumulated. However, if it is your desire 


that plates be shipped as completed, he should 
be glad to accommodate you. 

If requested, he will ship plates to your 
printer and copy and proofs to you. Also one 
set of proofs, on which is shown the individual 
number of each picture, may be included with 
the plates to your printer. 


Correspondence and Shipping Copy 

All correspondence in reference to ordering 
of engravings should be done by one certain 
member of the staff, preferably one who is 
systematic, careful and a legible and logical 
writer. 

Our experience has been that sometimes 
great confusion and serious loss of time and 
annoying errors occur if one editor sends orders, 
another writes letters about copy, and possibly 
another gets the proofs. 

While it may be highly desirable to have 
one member of the staff take charge of all 
snaps, another all portraits and groups, another 
all drawings,'etc., they should all report to the 
official order man and let him send in the copy 
and orders. 

And last but by no means least, let us repeat 
again—Study the Book on Business Manage¬ 
ment carefully. 

Never Give Up ’tis the secret of Glory, 
Nothing so wise can philosophy teach 
Look at the lives that are famous in story 
Never give up ’tis the lesson they preach. 












ILLUSTRATED SUPPLEMENT 


The same subject repro¬ 
duced from a pen and 
ink line drawing repro¬ 
duced by the Ben Day 
process. 


This is a four-color pro¬ 
cess halftone made from 
a color drawing in wash 
showing the possibilities 
of this medium. 


TWO SETS OF PLATES USING THE SAME SUBJECT FOR COMPARISON 










Use Semi-Glossy 
Black and White 
Photographs 


Zinc etching from pen drawing of lettering. 



Zinc etching made from same copy by reversing the negative 



Pen and ink drawing reproduced as zinc etching. 



Same drawing with Benday shading added. 



Where it is desired to show tints or shades in a pen drawing or in making color plates the Ben Day machine is frequently used. The 
samples above show a variety of these tints and their use is illustrated. Color sample shown on page one (see color plate in four colors), where- 
a lien Day tint is used to turn a red into a pink or flesh tint, etc. When Ben Dav tints are to be used it is best to let the engraver’s artist 
make his own selection. 

























































































Pencil drawing reproduced as high light half tone. 


Wash drawing reproduced as vignette half tone. 


Pen and ink drawing showing use of spatter work for shading. 


Pen and ink drawing showing use of stipple for shading. 


Charcoal drawing reproduced as abrupt vignette half tone. 

















































Outline head and shoulders of 
abrupt vignette bust 


Full abrupt vignette. 


Outline head and shoulders 
soft vignette bust 













Square finish 65 line screen. 


Full outline. 


Square finish 120 line screen. 


Outline with abrupt vignette 
around feet. 


Combination half tone and line. Copper. 






133 Line half-tone. 



Square finish metzograph screen. 



Square finish 150 line screen. 











































Athletic No. 1.5 The full size picture from which a very small halftone, 2 1 /<2 x 1was wanted. The dia¬ 
gram below illustrates how the picture was marked on the back to show what was to be taken into the halftone 
and how the proper proportions were obtained. 



Athletic No. 2. The small size halftone made from the athletic 
picture No. 1 when reduced as shown by diagram of reduction. 


S/ZE OF PHOTO 















The above diagram shows how to get the proportions to which a single picture or a group of pictures will 
reduce or enlarge. 

If you have a picture represented by A-4-4, draw a diagonal line on the back and all proportionate reductions 
will be represented by lines drawn at right-angles to the diagonal line, such as 1-1, 2-2, 3-3, etc. 

If you wish to lay out a group to reduce to a given size, let ABCD represent the required plate size, and 
through this diagram draw a diagonal line A D, which can be extended indefinitely. You can then arrange 
your pictures so they will come inside any set of two lines drawn at right angles and meeting on the diagonal 
line, such as 1-1, 2-2, 3-3, 4-4, etc. Such a group when reduced will come to the exact size of A B C D. 



The Ex-Libris or book plate adds materially to the attractiveness of your annual. This one should appear on the fly sheet. 

























The correct order for the opening pages to appear is illustrated as follows 
The subtitle or frontis piece on page 1. 

Copyright on page 2. 

Page 3—The full title. 

Page 4—The staff. 






Page 5—The foreword. 

Page 6—The writeup of the person to whom book is dedicated. 

Page 7—The photograph of the person to whom book is dedicated. 

Page 8—-The division sometimes called “order of book” or contents page. 

The above illustrations will show you the kind of copy that should appear on each of these pages. It is customary for these pages 
to be run in the same combination of colors. 




Suggestions for View Pages showing the two page spread effect at the top with line decoration. The left at the bottom shows the use of two- 
different views of the same building. Right illustrates use of large oval with conventional design. In planning these pages it is better to confer with, 
your engraver. These illustrations are all reproduced in two or more colors. 
























Above you will find five suggestions for subdivision pages. 

Sometimes called Book or Section heads. , n ui nna 

“FRATERNITY” shows the use of pencil sketch reproduced in halftone. 


“PRESS” is reproduced as zinc etching with the use of Benday and 
zinc tin. 


“TRACK” is a straight line etching in two colors. . 

The 1 2 3 and M on the Jersey’s appearing in Orange, balance in black. 


4 SOCIAL” is reproduced as zinc etching from drawing on Ross board. 


“BASKETBALL” is zinc etching from line drawing with Benday 
background. 















































































.Four subdivision pages the first AGGIE GIRLS is a very fine pen 
and ink drawing, reproduced. 

FRESHIES a line drawing with stipple background. 


HOMORES a pen and ink drawing with Benday shading. 
PARKER MEMORIAL HOSPITAL a crayon drawing repro¬ 
duced as copper etching with a zinc tint. This was a two-color job. 

















Four suggestions for your class sections: . . 

Showing the different arrangement of panels combined with a tint block, tint to be run at the same time as border. 

Upper lefthand corner shows ten faces to the page. Upper righthand corner six faces to the panel. Lower left shows five faces to the 
panel using head and tail piece instead of border design. Lower righthand shows the use of the vertical panel with border and half tone tint. 







The upper left hand corner offers a suggestion for your publica¬ 
tion pages. 

This page shows the formal picture of the business manager, editor 
and cover of the publication at the top, an informal picture of the 


staff at work at the bottom. The upper right a grouping of snaps 
with no decoration, attractive or simple. 

Below you have two unusual snapshot groups that will allow you 
to work in a maximum number of pictures to the page. 





























Four Suggestions for your Beauty Pages. 

Unusual Beauty pages are best obtained by leaving the mounting to the discretion of your engraver. 






















































j(\; Qerck Frai. .1is 


MLMHK 


Hum Hi I.umatHO* 

NUlUHT Mll.TOK 
U iiK'im Miiiu 


K win n«k IU«n 
Miuw Kl> Dkah 
M l J lM.l 1 

Ukk|o*ir frk.ikw 
K.umir \ lUuitkn 
Mm lUnu 
Ai.kk Jmu 
Eiim Kirn 


M1n.11 


FArtTTY MKMIU'K'* 


Ml** Ui 
M«. Hi 1 


Mi’lrr, rtmiun, S-tarrl, Riyc* Knot*, Irtcry 

. Whillwr, V\VI~lcf, frrtJrwkw. JmH. Juutirr, .Smith 

- Mueller. Burtwrh. Kenney. MrMurtry. Compton. IVilkcrjcn, Don.in 


The upper left is a suggestion for a faculty snapshot with very little decoration. The upper right shows the use of snapshots of the prominent 
faculty members combined with type. Lower left shows the use of a box head with attractive group. Lower right hand corner an attractive 
military group, with very little decoration. 


This Insert is printed on 

DILL & COLLINS CO.’S 
Black and White Coated Book 

The Incomparable Paper for College Publications ” 


















































































































































